HEAT OF MADNESS (Sitges 2026) Reality bites back

Posted on October 15, 2026 by Liz Whittemore — Leave a reply

HEAT OF MADNESS

Karim Ouelhaj‘s Megalomaniac shocked audiences in 2022. I will never be able to erase some of those images, no matter how hard I try. In his latest film HEAT OF MADNESS, a con man hopes to score big with one last heist, but everything goes wrong. Scola gets double-crossed and lets his loose cannon persona take hold. Putting his pregnant wife in the direct line of fire, he embarks on a violent rampage for revenge, or so he thinks.

Heat of Madness is a morality trial, and Scola is failing. Ouelhaj offers audiences a splintered and enigmatic journey through time. One could draw comparisons to Ebenezer Scrooge’s emotional journey, or even Dorothy Gale, as figures from all timelines interact like ghosts or lost souls.

As Scola wreaks havoc in the real world, a mysterious and apprehensive young woman appears as a moral compass. But Scola has no interest and revels in her beratement. But her emotional importance quite literally bears the weight of grief for Scola, but he is too blind to understand.

Julie Carrol plays our cryptic Petite Pomme with a purity and gentleness that perfectly balances Scola’s vitriol. Her physical performance is spectacular. Olivier Picard is our leading man. He is a selfish, violent, and abusive figure that audiences will loathe with a passion. That is the ultimate compliment in the acting world.

Music by Empusae is undeniably sinister. Bernard Vervoort’s cinematography is strikingly framed. Truly breathtaking scenes look like still-life paintings. These moments often give the viewer a moment to take a physical breath from the story’s intensity.

The script is twofold: stylistically beautiful and a challenge to follow. Scola’s journey is fascinating, and I encourage viewers to take every beat in. Memory, hallucinations, and consequences finally get some semblance of an explanation, but not until an hour and ten minutes into the film.

Karim Ouelhaj creates yet another mind-blowing narrative that pushes boundaries off the cliff. Audiences will find their hearts in their throats as they sift through various realities. Heat of Madness is a thought-provoking examination of regret, loneliness, anger, and redemption. Questions will gnaw at you long after the screen goes dark.

For more Sitges coverage, click here!

V/H/S/MIXTAPE (2026) Mayhem and music to my ears

Posted on October 14, 2026 by Liz Whittemore — Leave a reply

V/H/S/MIXTAPE

The unhinged horror anthology franchise is back with a delightfully disgusting vengeance. This time, Qwar hosts an MTV-style clip show of weirdness, debauchery, and terror all based around audio. These hysterically gagworthy transition pieces are, IMHO, the most cohesive upgrade. This departure from the previously heavy-handed mystery and more MST3K comedy stylings works like magic. Now let’s get into each new segment, shall we?

Tape One: Dance, Dance, Dance, Dance.

Directed by Renee Zhan, a bug-themed kids’ show opens by teaching young viewers about death. Barbara Crampton plays an exasperated network exec with a frightening authenticity. Time and time again, Crampton’s chameleon abilities to inhabit any role prove startling and celebratory. That’s why she never stops working.

Cut to present day, and the original puppets are set to be scanned, digitized, and documented for promotion. But puppet caretaker and forever-fan George is visibly resistant. When the team begins work, a seemingly odd glitch makes the cameraman wander. The secret is out when the puppets become sentient and murderous mayhem ensues.

The reboot joke is chef’s kiss if you’re a fan of the franchise. Practical FX are jaw-dropping. As a product of 1980s Sesame Street and a genre babe, this is my Christmas. It’s a felt, fur, and blood-covered house of horrors.

Tape Two: Another Cabin

Directed by franchise favorite Flying Lotus, this fairy-tale-inspired stop-motion short follows a young boy and his ungrateful elder who are attacked by a flesh-eating, shapeshifting monster from the woods. After years of abuse, the boy fights back by sacrificing her to the monster, but this is a horror short we’re talking about. The film looks incredible. Laika studio fans will dig this a little extra. Zero dialogue, but none is needed to convey the darkness.

Tape Three: Heartbeat

David Moreau follows YouTuber couple, Wes and Maya, as they journey through the woods to find an abandoned underground military facility. They discover an anechoic chamber, designed to shut out all outside noise. But there’s a reason they warn against staying longer than fifteen minutes.

The handheld camerawork comes from camcorders and GoPros. Julie Clergerie and Elie Kaempfen give incredible physical performances that look like theatre training. _’s augmented sound editing is hypnotizing and triggering even the calmest viewer. It is auditory torture.

Tape Four: The Music of Mr. Sze

Ernest Dickerson (Tales from the Crypt: Demon Knight *hell yes) gives us a story of a lonely but enthusiastic film student named Philip as he embarks on his day-in-the-life series in his new apartment. We briefly meet the other renters, but Philip is drawn to the sound of a violin emanating from another unit. Most of the footage (POV) comes from Philip’s brand-new camera glasses. As the music continues day and night, it profoundly affects Philip. He waits for Mr. Sze, offering to film his performances. But the offer backfires when Philip hums a song he should not have heard. Curiosity killed the cat, though in Philip’s case, it opens a portal to a Lovecraftian hellscape. Brilliant world-building and chaotic kills, this segment is a handcrafted throwback.

Tape Five: Premature Burial

Tobias Forge gives audiences a hardcore metal video. The story follows a twisted and satisfying revenge plot. You will be cheering with glee by the end of the song. Tee hee.

Tape Six: Death Tone

RZA dives into his world of music with a tale of a young woman’s attempts to connect with her deceased music producer father. Upon discovering a cassette with how-to instructions for creating a great track, Lydia records video diary entries to document her process and progress. When she connects most with a more visceral tone, she taps into her Patrick Bateman instincts to capture the perfect pitch. Video diaries and body cam footage get an immersive, artistic edit. Production design is moody and drenched in blood. The final moments put Johnny Depp‘s Nightmare on Elm Street demise to shame.

V/H/S/MIXTAPE is a GenX playground filled with old-school references, blood-spattered humor, and insane kills. It’s everything you want and then some. How each consecutive anthology tops the last is a mystery.

DANCE, DANCE, DANCE, DANCE: Directed by Renee Zhan

A studio attempts to reboot a long-cancelled puppet show with a mysterious past. Featuring work from Jim Henson’s Creature Shop.

HEARTBEAT: Directed by David Moreau

A pair of YouTube urbex influencers find themselves trapped in a decommissioned military facility used for sonic experimentation.

THE MUSIC OF MR. SZE: Directed by Ernest Dickerson

A college film student’s documentary project uncovers the reclusive life of a tormented musician.

DEATH TONE: Directed by RZA

A young sound engineer follows her late Dad’s instructions to create the ultimate track.

Wrap Segment

GWAR hosts skits and music videos in an MTV-style show from hell.

Featuring music videos directed by Tobias Forge and Flying Lotus.

Synopsis:
V/H/S/MIXTAPE cranks the franchise’s signature found-footage horror up to eleven with an electrifying new anthology where music and sound become the source of terror. United by a theme that explores the power of music, rhythm, and audio to haunt, possess, transform, and destroy, the film blends cosmic horror, psychological suspense, outrageous splatter, and groundbreaking practical effects into one unforgettable mixtape of nightmares.

Featuring all-new segments from legendary filmmaker Ernest Dickerson, hip-hop icon RZA, visionary director David Moreau, and acclaimed filmmaker Renee Zhan, the latest installment pushes the boundaries of found footage with four wildly original stories that each put a unique spin on the terrifying relationship between sound and fear.

Producers: Josh Goldbloom, Steven Schneider, Roy Lee, Michael Schreiber, Brad Miska

Writers: Zoe Cooper, David Moreau, Ernest Dickerson, RZA, Matt Landsman

Executive Producers: Ben Ross and Rami Yasin

Genre: Horror
Country: United States

Language: English

Runtime: 98 minutes

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Stronger Than The Devil (Grimmfest 2026): Genre-bending, brilliant chaos

Posted on October 12, 2026 by Liz Whittemore — Leave a reply

Stronger Than The Devil

Based on its title, Graham Guit’s Grimmfest 2026 feature Stronger Than The Devil might sound like a horror film, but it’s actually a dark comedy crime thriller. After 20 years of estrangement, a penniless and unpredictable man named Valentin unexpectedly reunites with his son, Joseph, and Joseph’s orderly girlfriend, Alice. Their quiet, predictable life spirals into chaos and danger when Valentin’s shady past catches up with him in the form of a sinister trio of criminal acquaintances.

Valentin is a lazy, overconfident stoner who delights in mooching off whoever crosses his path. When Alice recognizes Valentin in a grocery parking lot begging for change, she calls Joseph in hopes of healing his unresolved childhood abandonment issues. But her altruistic intentions backfire almost immediately as Valentin and his company’s influence take hold, leaving Joseph even more isolated than before.

Following a night of partying, Valentin begins to realize the severity of the chaos he has unleashed on his son, when (*spoiler alert- his associates kidnap Alice for human trafficking and snuff films)* Valentin must decide whether crack or morality wins his affection.

Nahuel Pérez Biscayart gives JP the weirdest, most wonderfully bizarre attitude. I am obsessed with his final act dance moves. Asia Argento is Mila, a total badass crime boss who reluctantly gives Valentin and friend PJ a shot. Her casual arrogance, biting humor, and unhinged masochism elevate the entire cast. She’s f*cking hilarious.

Joseph initially appears as a manchild, catering to the whims of his well-meaning girlfriend. Harpo Guit instills an earnest gentleness and care as he keeps Valentin at arm’s length. Alice is my feminist hero. Her IDGAF energy filled me with glee. Marine Vacth effortlessly gives her life, projecting relentless ferocity. Alice’s arc will have you cheering and pearl-clutching. Melvil Poupaud gives Valentin all the eye-roll-inducing messiness so audiences love and loathe him. His ability to scheme and manipulate is truly an art. It’s a wild performance to settle into.

The dialogue is beautifully absurd and laugh-out-loud funny. The camerawork perfectly balances classic French absurdist delight and crime thriller madness. Stronger Than The Devil moves through genres like chapters. The well-structured script keeps you on your toes with every turn, as circumstances grow darker while somehow maintaining an insane amount of levity. Graham Guit delivers an unapologetic and jaw-dropping film.

Premiere status: UK premiere
Length: 84 mins
Year: 2026
Rating: 15
Language/country: France
Cast: Melvil Poupaud, Marine Vacth, Asia Argento
Director: Graham Guit
Screenwriter: Graham Guit

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Disforia (Grimmfest 2026): The commodity of terror

Posted on October 11, 2026 by Liz Whittemore — Leave a reply

Disforia

Christopher Cartagena‘s Grimmfest 2026 feature DISFORIA dives headfirst into darkness with a global rash of suicides beginning two years prior. The system is near collapse. Aided by cult-like groups claiming to assist in suicides, when in reality, they are filled with murderous psychopaths.

Tomás, Esther, and their young daughter Say have a plan: drive over the Pyrenees to reach Esther’s sister in an isolated area untouched by the sadness. The audience quickly learns that secrets complicate everyone’s agenda. When Act Two begins, any inkling of intuition disappears. Enter Vera, a woman who claims to be a buyer for the house, but we suspect something more sinister. Cartagena keeps you teetering on the brink of hyperventilating.

Cartagena and co-writers Joan-Pol Argenter and Imanol Ortiz deliver a deeply twisted screenplay. Esther’s relationship with Say is entirely dysfunctional. When she decides not to listen to her mother, Say dons a chimpanzee mask. The choice is incredibly unsettling. But it is the trying dynamic that throws a wrench in future survival. The bond must hold, or it might spell certain doom. The script slowly reveals the trigger of unresolved trauma and detachment, making every beat between mother and daughter all the more explosive.

The set looks like an authentically abandoned home, from the draped furniture to the boarded-up entry points. Camerawork feels immersive, particularly in Say’s POV shot from behind the mask. Introducing an interactive audience ramps up the perverse nature. Internet commentators inspire increased mayhem and award points for violence.

Essentially, DISFORIA is commodifying terror. The film comes at a particularly auspicious time for American audiences with the government’s announcement of a livestreamed execution. Performances are spectacular across the board. Ranging from manic to unhinged, every cast member deserves a slow clap and a standing ovation. Each consecutive moment tops the last. As the credits roll, DISFORIA leaves nothing in its path but frayed nerves and your heart in your throat.

Year:2025
Runtime:82 minutes
Language:Spanish
Country:Spain
Premiere:UK
Rating:15

Director:Christopher Cartagena
Screenwriter:Christopher Cartagena, Joan-Pol Argenter, Imanol Ortiz López
Producer:Isabel G. Peralta
Executive Producer:Raúl Cerezo, Silvia Melero
Cast:Claudia Salas, Fariba Sheikhan, Eloy Azorín
Cinematographer:Jorge Roig
Production Design:Irene Cogolludo

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The Restoration of Grayson Manor (2026): Queer Camp Horror Delights

Posted on October 8, 2026 by Liz Whittemore — Leave a reply

The Restoration of Grayson Manor

Glenn McQuaid brings us into the colorful (in every sense) world of legacy, sex, and monstrous overtone. Welcome to The Restoration of Grayson Manor, and all its double entendres for dysfunction, identity, and frivolity.

Matriarch Jacqueline’s obsession with son Boyd producing an heir comes with debasing strings attached, but disguised as a favor. Jacqueline poo-poos Boyd’s career as a pianist, which further strains their already thin bond with her disapproval of his sexuality. Following a one-night stand on the grounds, and an “oops, I forgot to change out of your nightie” to rub it in mummy’s face, a freak accident in which Boyd saves his mother from death ultimately severs Boyd’s hands at the wrists.

The Restoration at Grayson Manor_press 3 kit.docx - [www.dropbox.com]

To motivate Boyd to keep living, Jacqueline claims to bring in a world-renowned team of doctors and therapists, creating him a one-of-a-kind set of bionic hands. As Boyd slowly lets his guard down with nurse Lee, his connection with the bionic hands grows stronger. Boyd’s emotions begin to control the hands, but their actions play out his deepest, most vengeful desires.

The Restoration at Grayson Manor_press 2 kit.docx - [www.dropbox.com]

Gabriela Garcia Vargas plays Boyd’s therapist. Her unresolved trauma, triggered by drugs, creates another dramatic, over-the-top addition to this already wacky screenplay. Daniel Adegboyega is a treat, delivering a presence that wavers between Dr. Frankenstein and a sexy lap dog. Declan Reynolds is genuinely charming. I loved every single second of him. Reynolds is the only grounded character in the entire film. Alice Krige is a genre legend. If you haven’t seen her in She Will, how dare you. Chris Colfer is a snarky bitch, in the best way possible. Krige and Colfer have delicious chemistry. I could watch them ping-pong insults all day long.

The Restoration at Grayson Manor_press 1 kit.docx - [www.dropbox.com]

The film is the epitome of queer camp. The dialogue, by McQuaid and co-writer Clay McLeod Chapman, is searing vitriol. The costumes are vibrant; the production design mixes a crumbling mansion with light-saturated medical tech. The pace dips at points, but if you’re choosing a film like this, you’re not there for some profound life revelation. The script gets weirder and weirder, with all the kooky kills a genre fan could desire. The film has a perfect ending once you understand the bitchy mother-son dynamic. A touch of Misery, Edward Scissorhands, and every John Waters film ever made, The Restoration of Grayson Manor is ultimately a campy romp, and we, the audience, are just along for the ride. McQuaid never apologizes for style, nor should he have to. The queer camp horror catalogue has a new member. Act accordingly.

*What do you mean you’re dressing up as the bionic hands from The Restoration of Grayson Manor for gay Halloween?*

directed by: Glenn McQuaid
written by: Clay McLeod Chapman & Glenn McQuaid
starring: Chris Colfer, Alice Krige, Daniel Adegboyega, Declan Reynolds, Gabriela Garcia Vargas, Matthew McMahon, Issac Cairns, Dave Byrne
produced by: Brendan McCarthy, Deirdre Levins, Thomas Herberth, Florian Brüning, John McDonnell

runtime: 90 Minutes
language: English
country: Ireland

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LADY (2026) Outlandish and charming

Posted on October 6, 2026 by Liz Whittemore — Leave a reply

LADY

Samuel Abraham‘s feature-length directorial debut LADY is an unhinged portrait of identity and connection. This magical realism mockumentary comedy follows isolated English aristocrat Isabella Ravenhyde as she invites an ambitious filmmaker and his small crew to film her and her vast estate for Netflix. Within minutes of their arrival, it is quickly revealed to be a ruse. Co-host of an annual talent show for underprivileged youth called Stately Stars, Isabella believes that if she can win her own competition, Netflix will surely take notice.

Very suddenly, Isabella’s hands disappear. Caught on camera, Sam believes this is his one shot to cash in on this strange occurrence and make a one-of-a-kind film. The translucency climbs, but Isabella refuses to see a doctor. She is hell-bent on finding her path to success through experimental performance art.

The more Sam examines Isabella’s footage and her odd behavior, the more enamored he becomes with her enigmatic existence, blurring the lines between subject and filmmaker.

Laurie Kynaston is charming and easy-going as Sam. He is a delightful foil for Isabella’s unwavering whimsy. Kynaston’s vulnerability is only matched by his co-star. Sian Clifford is diabolically delicious. A purely eccentric performance akin to Grey Gardens. Her nuanced idiocracies and unresolved trauma all play a role in Izzy. A freight train of narcissism and caricature behavior, Clifford delivers sheer comedic brilliance.

The handheld camerawork is equally dizzying and entrancing. Cinematographer Korsshan Schlauer and editor Josh Mallalieu keep your eyes darting from one corner of the screen to the other with beautiful imagery and gorgeous framing.

Filmed entirely on location at Somerleyton Hall in Suffolk, England, with production design straight out of Architectural Digest. Costumes are both remarkably wacky and incredibly elegant.

The film is a unique metaphor for feeling seen and a surprising meditation on grief; it is inarguably one of the year’s best films. LADY dazzles with its sumptuous setting, hilarious premise, and Sian Clifford’s tour de force turn. It is relentlessly quirky, ultimately overflowing with heart

Release: Theatrical in NY on 10/2 and LA on 10/9

Writer/Director: Samuel Abrahams
Writer: Miranda Campbell Bowling
Cast: Sian Clifford, Laurie Kynaston, Juliet Cowan, Olisa Odele, Jacob Masterson, Autumn Halse, Emma Buckworth, Olivia Norton
Producers: Anna Mohr-Pietsch, Stewart le Maréchal
Executive Producers: Jonny Persey, Maggie Glastonbury, Sean O’Shea, Tom Balkwill
Genre: Comedy, Mockumentary
Rating: Unrated
Run-time: 95 minutes

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Girl In The Night (Fantastic Fest 2026) He would do anything for love, but it will backfire

Posted on September 26, 2026 by Liz Whittemore — Leave a reply

Girl In The Night

Luka Marčetić‘s Slovenian dark crime comedy Girl in the Night won Fantastic Fest 2026’s Audience Award, and voters absolutely made the correct choice. Kleptomaniac Rok lives a pretty uneventful life, seeking small drips of adrenaline with petty thievery. When he encounters a mysterious girl with a head wound, Rok’s intrigue gets the better of him, and he makes excuses to be in her presence.

Nighttime shenanigans ensue. Activities include retrieving a lost ferret, moving apartments, and intense physical interrogations. Like Rok, the audience assumes Iza is a hooligan, but we soon discover her goal is merely to help people in her own curmudgeonly style. To keep her attention, Rok creates a villain character whom he claims stole her bike. Keeping up the lie without life-altering consequences proves challenging. The clock is ticking for this vigilante-sidekick duo.

Urban Kuntarič is superb as Rok. He wears his heart on his sleeve, and we are along for the rollercoaster of thrills and sadness. Lara Wolf somehow gives our leading lady equal parts spunk and moroseness. She has a living cartoon character quality somewhere between emo and tomboy. Their chemistry is cinematic magic. Witnessing Kuntarič pine for her good graces while Wolf appears to eschew his advances is dazzling.

Girl in the Night has found its audience at Fantastic Fest 2026. The cinematography, editing, and lighting are gorgeous. The deadpan delivery, the long takes- it’s all delicious weirdness. The film is undoubtedly one of the year’s best genre gems.

“Girl in the Night” can be seen next week on September 28^th at the Strasbourg Film Festival for its European premiere and then to the Sitges Film Festival in October in the Noves Visions section. Noves Visions continues to be the section reserved for the most unique, experimental, and ground-breaking productions, for filmmakers willing to challenge traditional genre conventions and explore new ways of depicting the fantastic.

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The Incomer (2026) A winsome tale we all need right now.

Posted on September 25, 2026 by Liz Whittemore — Leave a reply

THE INCOMER

Filmmaker Louis Paxton‘s laugh-out-loud film THE INCOMER has arrived to capture your heart. The story follows two siblings who have never left their isolated Scottish isle. When they discover a lowly land recovery coordinator, they take him for an invader. Sandy and Isla have been raised on fear-mongering folklore, making their reality incredibly fragile. Daniel immediately recognizes the danger (and potential madness) and attempts to distract them with his mainland knowledge and technology while waiting for rescue.

Relationships are tested, as Sandy instantly becomes enamored with Daniel, but Isla is suspicious of every word. Meanwhile, on the mainland, when Roz cannot reach Daniel, she sends in her most unhinged employee to finish the job.

The dialogue is like watching toddlers argue, and it is relentlessly hilarious. Daniel slowly realizes that his awkwardness is the key to connecting to this whimsical duo. Gleeson’s manipulation of The Lord of the Rings is chef’s kiss.

As the trio bond, Daniel comes out of his shell, Isla’s hardness softens, and Sandy feels left out. Things get increasingly complicated when Daniel’s hyper-aggressive coworker, Cal, becomes the latest Incomer, and the siblings each deal with their changing feelings in extreme ways.
Performances absolutely rule. Michelle Gomez, John Hannah, and Emun Elliott are delightfully funny additions to this quirky cast. Grant O’Rourke plays Sandy as a lovable, childish oaf. Every bit of newness lights up his eyes. O’Rourke steals every scene he appears in. Gayle Rankin is a comedic goddess. Her fearless career choices run the gamut of creativity. Rankin gives Isla an infectious feral energy. Domhnall Gleeson exudes unassailable charm as Daniel, and somehow remains a Timelord, with his boyish good looks. His effortless slapstick comedy is a director’s dream. Together, they are magic.
The animation during Isla’s stories is darling. The score is epic, swinging between jarring and jubilant. Costumes and production design are fantastic. The script is a joyous examination of human connection, patience, and open-mindedness. It wholeheartedly celebrates uniqueness, imagination, jumping into the unknown, and finding your people. The Incomer is undeniably one of the year’s best films.

THE INCOMER Trailer:

IN THEATERS: September 25, 2026

DIRECTOR: Louis Paxton

WRITER: Louis Paxton

CAST: Domhnall Gleeson, Gayle Rankin, Grant O’Rourke, Emun Elliott, Michelle Gomez, and John Hannah

SYNOPSIS: Sundance Award-winning comedy, The Incomer is a modern folk fairy tale set on a remote Scottish island, where two siblings survive by hunting seabirds, retelling the stories of their ancestors, and defending the isle from dreaded Incomers. Their world is upended with the arrival of an awkward council worker who has come to uproot them from their homeland on behalf of the government.

RUN TIME: 102 minutes

RATING: R

GENRE: Comedy, Drama, Fantasy

DISTRIBUTOR: Sumerian Pictures

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Death Has No Master (2026): The haunting legacy of colonizer trauma.

Posted on September 19, 2026 by Liz Whittemore — Leave a reply

Death Has No Master

Jorge Thielen Armand‘s Fantastic Fest 2026 feature, Death Has No Master, stars Asia Argento as Caro, a woman who returns to Venezuela to sell her father’s cacao farm, only to discover former staff have moved in and refuse to leave. Caro carries obvious signs of unresolved trauma. You can see it in her physical presence and hear it in her voice. Being in the house is unbearable, but the town and societal rules have changed since she was a child, and her uphill battle to claim her inheritance and reclaim her sanity seems impossible.

Luis Armando Arteaga’s cinematography makes the film look timeless. The locations are stunning. The combination of Vittorio Giampietro’s music the entire sound editing burrows under your skin.

Dogreika Tovar gives Sonia a bitterness that feels earned, putting the audience squarely in a morally grey position. Arturo Rodriguez gives Yoni a dazzling, enigmatic energy. He is almost a gateway between past, present, and future. Asia Argento‘s Caro teems with fear and anger. A performance that must be witnessed. It is mesmerizing.

Jorge Thielen Armand utilizes quick flashes of memory to suggest despair, but it is not until the film’s final act that we fully understand the chokehold this house, this land, and this country have on Caro’s entire existence. Time and memory blur, and the madness is unrelenting. Death Has No Master is an examination of power, trauma, and class. It is dark and haunting in a way that feels physically heavy. It is a complex and unsettling film.

Showings :Fri, Sep 18th, 5:30 PM @ Theater 7Wed, Sep 23rd, 11:00 AM @ Theater 1Wed, Sep 23rd, 11:00 AM @ Theater 2Wed, Sep 23rd, 11:00 AM @ Theater 4

Year:2026

Runtime:106 minutes

Language:Spanish

Country:Venezuela, Canada, Italy, Luxembourg

Premiere:North American Premiere

Director:Jorge Thielen Armand

Theater 1September 23, 2026, 11:00 AM – 12:51 PM CDT

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SICK (Fantastic Fest 2026) Gagworthy sibling summer

Posted on September 18, 2026 by Liz Whittemore — Leave a reply

SICK

Agata Trzebuchowska’s Fantastic Fest 2026 film Sick is just that. The story follows sixteen-year-old Maks and his nineteen-year-old sister Emma as they spend an isolated summer with their ailing grandmother. Maks is stuck between a sexual awakening and childhood reminiscence. He grew up spending lazy days on the lake, exploring the forest trails, and playing with Emma alongside his doting grandmother.

Now, with Gran suffering from a mysterious illness and Emma creating an increasingly aggressive and inappropriate dynamic in the house, everyone’s behavior intensifies. Emma actively flirts with Maks, testing his self-control. Her power trip does not end with Maks. She treats Gran as a nonverbal prop to bait her brother into risky behavior.

Two bizarre plotlines play out simultaneously: a brother-sister scenario that creeps you out and a grandmother transforming into something completely unknown. Somehow Trzebuchowska weaves the two together seamlessly. Gran’s health improves. Maks and Emma go deeper down the rabbit hole. Their health begins to deteriorate. Gran is acting weird… and leaving strange goo in her wake.

Tomasz Kajetan Naruszewicz’s editing is spectacular. The lighting is stunning. Maciej Edelman’s music and camerawork are jarring. Performances are mind-blowing. Katarzyna Łubik is enthralling as Emma. She has the audience in a chokehold. Nonrad Kąkol gives Maks a beautiful balance between innocent puppy dog and weak-willed hormone monster. It’s a gorgeous turn.

SICK is unrelenting. Fantastic Fest audiences are done for. Sick tells viewers that when you break the laws of nature, all bets are off. It’s a jaw-dropping film. It obliterates rational boundaries. Akin to a car crash. You cannot look away.

SICK
Feature Film (Poland)
(World Premiere, 2026, 90 mins, In Polish with English subtitles)
(Drama/ Horror)

Directed and written by: Agata Trzebuchowska
Producers: Patryk Sielecki, Adrianna Rędzia
Starring: Konrad Kąkol, Katarzyna Łubik, Monika Niemczyk, Julian Świeżewski, And Eliza Rycembel.

FANTASTIC FEST 2026 OFFICIAL SCREENINGS
Location: Alamo Drafthouse Lamar
Address: 1120 S Lamar Blvd, Austin, TX 78704

Friday, Sept 18 at 5:30PM (Theater 6)

Thursday, Sept 24 at 5:45PM (Theater 6)

Thursday, Sept 24 at 5:45PM (Theater 7)

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GRIMMFEST 26- OPENING, CLOSING, + SHORTS. Oh, My!

Posted on September 9, 2026 by Liz Whittemore — Leave a reply

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The Sun Never Sets (2026): Authentically messy love

Posted on September 4, 2026 by Liz Whittemore — Leave a reply

The Sun Never Sets

Joe Swanberg‘s ability to write real life shines once again in his latest film, The Sun Never Sets. Wendy, a woman in her early 30s, has been dating Jack, a father of two great kids, for two years now. Wendy is an outdoorsy, impulsive Anchorage native whose dreams of marriage and kids don’t fit into her current relationship.

Jack puts her in an impossible position, proposing that Wendy take a few months to explore other options to make sure she understands that Jack does not plan to remarry or have more kids. The consequence of this well-meaning deal? Wendy runs into her ex and sparks fly. Now she must wade through the complexity of age and stage, unresolved trauma, and all the what-ifs in life.

Watching each other date rewires Wendy and Jack. Chuck is trying his best to get his shit together; it just happens to be a slower process. Jack immediately regrets his proposition and goes all in, pushing Wendy to confront mixed messages. Can the two overcome passion, sadness, and regret to find one another again as reality crashes around them?

Anna Konkle plays Jack’s ex-wife. Their chemistry is lovely. Konkle gives Johnson a gentle sounding board for his headspace. They feel like a real-life co-parenting team with an amicable, we used to be married connection. Debby Ryan is the best friend every woman wishes she had. Authentic and level-headed, she is always a delightful addition.

Lamorne Morris plays Jack’s confidant. While we only see him in scenes with Johnson via Zoom, their years-long relationship in real life shines through with humor and heart. Morris, like Ryan, brings sincerity to the film. Corey Michael Smith gives Chuck the right amount of frustration with his current state, while also delivering a breezy connection with Fanning’s Wendy.

Jake Johnson plays Jack with a grounded sense of self. Jack is a grown-up in all the right ways. Anyone who’s been an avid reader of my work knows how much I adore Johnson. His effortless charm sneaks under your skin, and Jack is no exception.

Dakota Fanning gives Wendy the most earnest longing to figure life out in her 30s. Like every role she tackles, her tangible humanity is magnetic. Johnson and Fanning’s chemistry is off the charts. The arguments feel more like intimate peeks into the viewer’s life than acting.

The script forces Wendy to choose between a spontaneous and seemingly perpetual bachelor and an adult. While all three people are flawed, they are also incredibly human. Swanberg is a master at making the mundane the most important. This is why his films hit on a different level.

Unresolved feelings take years to manage, no matter how much you care for someone. There is no big secret to how we grow as couples or individuals as life rolls on. Swanberg taps into undeniable life truths. Love is unpredictable. Love is messy. Love is work.

While I was initially let down (maybe for 30 seconds) by the ending, Swanberg absolutely delivers perfection in those final moments. Wendy’s pursuit of closure with everyone is emotionally healthy, and who knows what the future brings for her. The Sun Never Sets is hopeful.

IN THEATERS EVERYWHERE SEPTEMBER 4, 2026

Synopsis: Wendy (Dakota Fanning) believes she’s perfectly happy in her relationship, until her older boyfriend, Jack (Jake Johnson), who is divorced with children, insists they take a break to make sure she’s truly okay giving up on the idea of marriage and babies. During this time, Wendy unexpectedly runs into her ex, Chuck (Cory Michael Smith), who reignites her carefree and spontaneous side, and suddenly seems to want a family. The three of them navigate a chaotic, confusing, and often funny relationship triangle, reminding us that the pursuit of love is beautiful and messy all at once. The film was shot on 35mm on location in Alaska.

Writer, Director, & Editor: Joe Swanberg

Cast: Dakota Fanning, Jake Johnson, Cory Michael Smith, Debby Ryan, Anna Konkle, Lamorne Morris, Karley Sciortino

Producers: Jake Johnson, Ashleigh Snead, Joe Swanberg, Dakota Fanning, Cory Michael Smith

Executive Producers: Kathy Gitibin Parsa, Ariana Parsa, Dan Johnson

Director of Photography: Eon Mora

Genre: Romantic Drama

Language: English

Runtime: 102 min

For more Joe Swanberg films, click here!

Oddities (Frightfest 2026): Chaos Unleashed

Posted on September 3, 2026 by Liz Whittemore — Leave a reply

Oddities

Filmmaker Tyler Savage‘s Frightfest 2026 film ODDITIES follows party-girl roommates as they spiral into chaos: an accidental murder, a pissed-off drug dealer, and then unexpected captivity by a would-be savior. After almost getting raped in search of a quick high, Mak and Rose go on the run, only to discover that there is an enormous bag of drugs in the trunk of their now-dead assailant. They know someone will come looking for them.

To evade a tailing cop, the two randomly drive toward a sign that reads Antiques. Once inside the roadside shop, Mak makes one more terrible life choice, putting the roommates in the hands of an unhinged woman. Now captives in a cell beneath the big red barn, they must contend with the owner’s unusual beliefs.

Xander Berkeley enters in Act 3. Berkley has a knack for elevating any project he appears in regardless of the genre. Gunner Willis delivers a mesmerizing, trauma-led turn as Francis. Savage gives legend Adrienne Barbeau an unreal complexity in Betty. Her outwardly calm demeanor hides a ferocity and quick-witted, razor-sharp instinct. It’s horrifying, and she is brilliant.

Lovie Simone and Lilimar are fantastic foils for one another. Mak is boisterous but ultimately submissive, while Rose is seemingly quiet, level-headed, and proactive. Their personality differences and ultimate teamwork drive their storyline forward as outside forces continue to pounce.

Simone gives Mak a striking physicality. Her distinct body language pulls you past the facade of a vapid young woman and leads you to root for her. Lilimar bears a striking resemblance to Angelina Jolie. Her whip-smart delivery is enthralling. She could effortlessly carry a film all her own. Their chemistry is undeniable. The banter feels both lived-in and fresh. It’s a beautiful pairing.

Stephen Boyer‘s editing is exhilarating. The fast pace and pulsing score, combined with neon-saturated lighting in the first 20 minutes, keep the adrenaline pumping. Amber Unkle‘s production design is spectacular. Savage leaves clues everywhere, some subtle, others blatant foreshadowing. Antonio Cisneros‘ camerawork is just super cool from beginning to end.

But don’t get distracted. There are multiple storylines. Each one adds fuel to the fire. Oddities is a freight train. Each beat gets stranger and more terrifying, with the film boasting one of the wildest final twists. I’m begging for more, as long as Lilimar is involved.

U.K. PREMIERE
AT FRIGHTFEST 2026
Monday, August 31st

For more horror coverage, click here!

Grimmfest 2026 Passes Running Low! Grab yours today!

Posted on August 26, 2026 by Liz Whittemore — Leave a reply

Grimmfest 2026 Passes on Sale now and selling fast!

For previous Grimmfest coverage, click here!

ICE CREAM MAN (2026) Eli Roth returns with a sick treat

Posted on August 3, 2026 by Liz Whittemore — Leave a reply

ICE CREAM MAN

In Eli Roth‘s latest deranged installment, Ice Cream Man, a quaint seaside town gets rocked when an evil, dairy-centric pied piper turns the kids in town to murderous lemmings. An unlikely group of 12-year-olds who did not partake in the product band together. Can they survive middle school and make it to summer break alive?

Jared finds himself the target of every bully in town. His empathetic, quick-witted, lactose-intolerant nature proves resourceful when all the other kids transform into supernatural maniacs from the treats they’ve consumed the night before that last week of school. In true Roth fashion, what you see is never what you get, and no one is safe. Roth does not give a rat’s ass where your line in the sand exists.

The cast is phenomenal. Charlie Storey plays Piper, the featured deranged girl and pseudo-leader of the rabid pack of littles. She is terrifying. Eli Roth is Jared’s dad. Spectacularly snarky, Eli writes a slick character every time. Ari Millen gives the Ice Cream Man a happy-go-lucky vibe that immediately creeps viewers the fuck out. He never says a word, but is easily a fan-favorite baddie.

Shiloh O’Reilly gives Tommy an abundance of swagger. He is a solid addition to the cast. Sarah Abbott delivers a brilliant physical performance as Jared’s older sister, Lizzie. Kiori Mirza Waldman nails the socially aware preteen, offering an unexpected but welcomed complexity. Charlie Zelyzer gives Jared the most fun, charming, watchable star power. Cast him in everything immediately.

Practical FX and makeup effects are as gruesome and memorable as we’ve come to expect from Roth’s resume. Kills are diabolical, and the children’s subsequent actions are bonkers—a huge shout-out to Appled Arts FX Studio and Morot FX for their work. Brandon Roberts‘ music is appropriately unhinged. I hear you, Snoop Dogg.

Roth consistently pushes the envelope in horror, delivering unforgettable films that leave a mark on your psyche and make you laugh at their intrusiveness. The lore created by Roth combines a generational curse, the church’s abhorrent crimes, and an immigrant’s supernatural revenge plot. Yes, all the things wrapped in one absolutely bananas package.

Ice Cream Man arrives on the heels of Weapons, but here we have a more comedic angle, and the children target all adults. It plays more along the lines of Cooties (2014). Ice Cream Man is a sick treat, as satisfying going down as it is coming back up. Always stay through the credits.

ICE CREAM MAN will be In Theaters Nationwide on August 7, 2026.

DIRECTED BY: Eli Roth

WRITTEN BY: Eli Roth & Noah Belson

STORY BY: Eli Roth

PRODUCED BY: Eli Roth, Kate Harrison

CAST: Ari Millen, Benjamin Byron Davis, Eli Roth, Karen Cliche, Dylan Hawco, Sarah Abbott, Shiloh O’Reilly, Kiori Mirza Waldman, Charlie Zeltzer, Charlie Storey

SYNOPSIS: Ice Cream Man follows an idyllic summer town descending into madness when an ice cream man serves kids sweet delights with horrifying results.

RUN TIME: 86 minutes

RATING: Unrated

GENRE: Horror

DISTRIBUTOR: The Horror Section

OFFICIAL SITE: www.icecreammanmovie.com

SOCIAL HANDLES:

@horrorsectionstudios (IG, FB, YT, Threads) | @thsstudios (X) | @ths_studios (TikTok)

HASHTAG: #icecreammanmovie

For more horror coverage, click here!

THE FATED HOUR (Fantasia 2026) Haunting short

Posted on July 30, 2026 by Liz Whittemore — Leave a reply

THE FATED HOUR

Based on “The Relationship with the Spirit-World” by Friedrich Laun, filmmaker Peter Hengl‘s Fantasia 2026 atmospheric period short THE FATED HOUR begins in Austria, 1810. Florentine recounts her deceased sister’s supernatural predilections to her fiancé, ultimately warning him of her potential impending destiny.

Seraphine was gifted or afflicted with telepathy, astral projection, and an overwhelming melancholy air. Her inexplicable connection to the spirit world and her ability to receive messages from beyond create a rather chilling existence in 1810. But Florentine’s eternal love for her sister reigns supreme.

Costumes are beautiful. The camerawork, editing, and candlelit rooms lend to a haunting atmosphere. Every aspect of production is divine. Alina Schaller is incredibly compelling as Florentine. You truly hang on every word. Fanny Altenburger, who also provides stunning songwriting and vocals for the film, is mesmerizing as Seraphine, with an ethereal aura.

THE FATED HOUR delves into grief, the indescribable bond between sisters, and even believing women. It’s a genre delight, and extra delicious for us bookish, gothic-loving girlies to get lost in.

Director

Peter Hengl

Executive Producer

David Gregory

Producer

Lola Basara, Kier-La Janisse

Writer

Peter Hengl

Cast

Fanny Altenburger, Daniel Holzberg, Cornelius Obonya, Alina Schaller

For all things Fantasia, click here!

HOME BODIES (Fantasia 2026) Trust and Technology

Posted on July 24, 2026 by Liz Whittemore — Leave a reply

HOME BODIES

Casey Walker‘s ceaselessly intriguing Fantasia 2026 film Home Bodies follows isolated twins, Blue and Red. Having solely existed in an automated environment, they experience a controlled perspective, from their color-coordinated tracksuits to their crayon packs and toys that only feature a variation of their assigned color. Each day, they find a VHS episode of a children’s television show called The Barn; something akin to a cable access version of the New Zoo Revue meets Neighborhood of Make-Believe.

But it is clear Blue and Red are different personalities. Blue is happiest with routine, in the way a young child aims to please to stay out of trouble. Red has more of a bored tween attitude. She has grown weary of the day-to-day. Red’s tedium leads her to momentarily lash out during a game of catch, breaking a window and disrupting their regularly scheduled actions.

Their only contact is “Papa,” a mysterious Hal-like speaker down a hallway. With a Speak-and-Spell tone of voice, the audience can hear faint keyboard tapping as the children report their error. When they wake to their version of Christmas morning, they discover they’ve been gifted an androgynous humanoid they name Pal. The arrival quickly drives a wedge between the siblings as Red’s attention has a fresh target.

When Red awakens to find Pal watching a bloody, slaughterhouse version of one of their television episodes, with a worse version arriving each night. Blue hatches a plan to get rid of Pal, but his actions immediately backfire. Red and Blue’s world begins to alter in small ways. Every regulated aspect of their lives starts to glitch, from the water and food quality to temperature settings, garbage disposal to communication, pitting the siblings against one another.

Ian Ho‘s Blue is almost punchable, which is a total compliment. A stickler for rules and equally bratty creates an incredibly compelling performance based solely on self-preservation. Emma Ho gives Red a feisty air that beautifully counters Ian’s underdeveloped social-emotional state. Her daring non-compliance and knowledge-seeking provide a healthy perspective for the audience to grasp onto. Their chemistry is magic.

Home Bodies feels like Ray Bradbury‘s The Veldt meets a daylight version of Skinamarink. The cinematography is fantastic. Bryn McCashin utilizes security camera angles and peculiar POV shots from inside trashcans or the microwave.

Chareese Steinhoff‘s production design is immersive. The aging midcentury aesthetic of the automated house is unnerving. There is a recurring theme of dripping water, from the faucet, the shower, pipes, down walls. As consequences loom, it almost feels as if the house is slowly disintegrating.

Home Bodies is unbelievably entertaining. There is never a dull moment. Adrian Murray and Marcus Sullivan‘s script explores the fallout of violating trust and broken rules; it is a sinister evolution of manipulation, and perhaps a metaphor for today’s youth and their reliance on technology to regulate their needs. Home Bodies boasts a mind-blowing finale that makes it ripe for a franchise. I have all the questions, and I am begging for more. Do not move during the credits. The moment the film ended, I started it again and gasped. Oh, the breadcrumbs.

World Premiere Screening

HOME BODIES
Thursday, July 23, 2026
9:30 PM
Cinéma du Musée
Fantasia International Film Festival
Presented in the Septentrion Shadows section
Presented with the short film SLEEP THROUGH SUMMER

For all things Fantasia, click here!

NIGHTBORN (Fantasia 2026) Motherhood is a beast.

Posted on July 23, 2026 by Liz Whittemore — Leave a reply

NIGHTBORN

Filmmaker Hanna Bergholm brings Fantasia 2026 audiences a twisted tale of motherhood and Finnish folk horror in NIGHTBORN. Newlywed couple Saga and Jon arrive at Saga’s childhood home in Finland. It is an enchanting, if not slightly spooky, house hidden deep in the eerily shaped woods. Following the birth of their son, motherhood proves challenging when Saga suspects her child is not like other babies.

Written by Ilja Rautsi and Bergholm, the script cleverly combines tropes, such as the language barrier, with the real-life, unfiltered physical horrors of birth and motherhood. Unless you’ve experienced the very real blood, sweat, and tears that Saja goes through in the first 15 minutes of the film, one might think they are exaggerated.

The emotional exhaustion of being another creature’s lifeblood is often overwhelming. The constant realization that survival depends on your every moment of attention can be too much. Family members try to help, but can unintentionally make things worse. Rautsi and Bergholm play upon a mother’s inherent instincts. They give Saga enhanced hearing and a supernatural connection to the surrounding woods.

On the other hand, Rautsi and Bergholm give her family members a deep loathing for Saga that the audience does not relate to. These jarring revelations make the viewer question reality even further, as we have no basis for these accusations. Stories from her childhood, as told by her mother and sister, present as nasty. But are they true? We never know.

Production design is extraordinary. Beyond the forest’s gnarled humanoid likeness, the nursery is a mix of gothic whimsy one might see in Architectural Digest. Any 90s witchy tween will be in heaven at the sight of each carefully curated element. Practical effects are beautifully gagworthy. Yes. Yes. Yes. Birth is a miracle, blah, blah, blah, but it’s almost visceral and revolting. Anyone who tells you different is a damn liar. Talk to me after you have a C-section, thank you very much.

Rupert Grint is a proud father and fish out of water as Jon. Grint does his best impression of calm and supportive while clearly flailing in fear and helplessness. Grint has become a genre icon, ironically in stories revolving around “special” children. Seidi Haarla is sheer perfection as a mother on the verge of insanity. Her feral performance is the stuff of cinematic dreams. Along the lines of Inde Navarrette in Obsession, women in horror earn every ounce of respect and need to be called out for their vulnerability and badassery. Bravo Seidi.

We do not see Kuura’s face for 99% of the film, sneakily adding to the contextual weight. The audience feels the dizzying gaslighting and emotional state of Saga. Rautsi and Bergholm give audiences a lived-in authenticity of outside judgment and sacrifices of a mother. NIGHTBORN is a genre-inspired manifestation of nature vs nurture. Mothers will do anything for their offspring.

Synopsis

With dreams of starting a perfect family, Saga (Seidi Haarla, Compartment No. 6) and her British husband Jon (Rupert Grint, Knock at the Cabin) move to the isolated house where she spent much of her childhood, deep in the Finnish forest. But as soon as their baby is born, despite the reassurance of all around her, Saga knows there’s something terribly wrong with her son. As their marriage starts to crack, Jon struggles to support his wife, but only Saga suspects the terrible truth about her newborn.

From the director of Hatching, NIGHTBORN is a visceral, gripping and terrifying dark fable about motherhood and unconditional maternal love.

About the Director

Hanna Bergholm is a Finnish film director. Her debut feature film, horror drama Hatching, had its world premiere at Sundance Film Festival 2022 and has been sold to over 75 countries. Rotten Tomatoes named Hatching the 8th Best Horror Movie of 2022 in the Golden Tomato Awards. At film festivals Hatching has won awards and nominations including the Grand Prize and Youth Jury Award at the Gérardmer film festival in France, award for the best special effects in Sitges and three Jussi Awards in Finland. Previously Bergholm has directed internationally awarded short films and TV drama series.

Director: Hanna Bergholm

Screenwriters: Ilja Rautsi and Hanna Bergholm

Cast: Seidi Haarla, Rupert Grint, Pamela Tola, Pirkko Saisio, Rebecca Lacey, John Thomson, Silvia Saloranta

Producer: Daniel Kuitunen

Executive Producers: Brahim Chioua, Nick Shumaker, David Levine, Scott Shooman, Emily Gotto

Cinematographer: Pietari Peltola

Editor: Jussi Rautaniemi

Language: English, Finnish

Runtime: 92 mins

For all things Fantasia, click here!

GODHEAD (Fantasia 2026) A shocking sophomore feature

Posted on July 22, 2026 by Liz Whittemore — Leave a reply

GODHEAD

HIPPO filmmaker Mark H. Rapaport brings his shocking sophomore creation to Fantasia 2026 audiences. GODHEAD follows a small-town priest with a secret. When a mysterious pair of twins dressed in white tracksuits appear in the church, they task Father with deciding which of them is the Holy Spirit.

Al Warren plays Father with an even-keeled temperament that is unnerving. Warren’s performance subconsciously splits the audience’s attention with our understanding that our priest has villainous tendencies. Right outside the walls of the church, he is holding a young boy, once abandoned on the church’s doorstep, captive with tales of an apocalyptic outside world. Matthew exists in an environment entirely curated to keep him afraid and controlled. Locked in his room after hours of bible stories, forced to listen to cassette tapes of chaotic audio playing just beneath his window. But, in truth, his flaws could not be darker.

Sarah Coffey and Kimball Farley deliver jarring physical performances, leaning into the idea that they are otherworldly. As First Born, Coffey speaks with unwavering assuredness. Each moment is powerful and intense. Coffey’s appearance from the neck up is one of a 90s raver kid, making her all the more intriguing as it visually counters the messaging. As Second Born, Farley gives a neurodivergent presenting performance that is pure and immaculate chaos. As a parent of AuDHD children, it is a meticulously accurate portrayal. Both bless us with award-worthy turns.

The original score from Austin Feinstein and Kenny Kusiak wavers between unsettling and ethereal. As with HIPPO, the film is shot in crisp black-and-white by William Tracy Babcock. The camerawork matches the unpredictability of the script, melding closeups, odd angles, and powerful framing to subvert our expectations.

If you grew up in a household that sat along the line of Christianity, you would catch the immense impact of the iconography and actions surrounding the care (or lack thereof) in handling and depicting certain objects and events. 24 minutes into the film, the audience understands the narrative gravity in GODHEAD.

As what those still in the church would call a Lapsed Catholic, or as my mother jokingly refers to my siblings and me as heathens, experiencing this story unfold had me captivated. Regardless of religious affiliation, the debates in the film will undoubtedly have audiences talking. If this film does not burrow into your brain, you aren’t paying attention.

Rapaport challenges viewers to examine the construct of good and evil; to study the effects of indoctrination and fanaticism in a world existing between truth and fiction. GODHEAD is a wild ride, and inarguably one of the most brilliantly complex films of the year.

English language, 98 minutes

Dir. Mark H. Rapaport

For more Fantasia coverage, click here!

Fantasia 2026 arrives to fright and delight.

Posted on July 12, 2026 by Liz Whittemore — Leave a reply

Fantasia 2026.

Grab your party hats, because she’s turning thirty and flirty and she’s coming to scare the shit out of us. This year’s Fantasia 2026 is here to gag you, both literally and figuratively. This lineup is insane. Zero surprise there. Here are just a handful of the films and short blocks on our ever-growing list of magic and mayhem to check out:

The Fantasia International Film Festival will celebrate its upcoming 30th edition with an electrifying program of screenings, workshops, and launch events running from July 16 through August 2, 2026, returning to the Concordia Hall and J.A. de Sève cinemas, with additional screenings and events at Montréal’s Cinéma du Musée.

NIGHTBORN

With dreams of starting a perfect family, Saga (Seidi Haarla, Compartment No. 6) and her British husband Jon (Rupert Grint, Knock at the Cabin) move to the isolated house where she spent much of her childhood, deep in the Finnish forest. But as soon as their baby is born, despite the reassurance of all around her, Saga knows there’s something terribly wrong with her son. As their marriage starts to crack, Jon struggles to support his wife, but only Saga suspects the terrible truth about her newborn.

From the director of Hatching, NIGHTBORN is a visceral, gripping and terrifying dark fable about motherhood and unconditional maternal love.

Director: Hanna Bergholm

Screenwriters: Ilja Rautsi and Hanna Bergholm

Cast: Seidi Haarla, Rupert Grint, Pamela Tola, Pirkko Saisio, Rebecca Lacey, John Thomson, Silvia Saloranta

Producer: Daniel Kuitunen

Executive Producers: Brahim Chioua, Nick Shumaker, David Levine, Scott Shooman, Emily Gotto

Cinematographer: Pietari Peltola

Editor: Jussi Rautaniemi

Language: English, Finnish

Runtime: 92 mins

THE LAST TEMPTATION OF BECKY

Now working as a field agent for the CIA, Becky (Lulu Wilson) is sent undercover to Poland to infiltrate a family of innkeepers who are running a tourist venture at The Wolf’s Lair, Hitler’s WWII bunker. After learning that the father, Wilhelm Reuss (Neil Patrick Harris), is on a mission to bring about the Fourth Reich, Becky takes matters into her own hands.

Director: Jenn Wexler

Writers: Jenn Wexler and Matt Angel

Story By: Matt Angel & Suzanne Coote

Cast: Lulu Wilson, Kate Siegel, Brandon Flynn, Catherine Walker, with James Urbaniak and Neil Patrick Harris

Run Time: 89 minutes

Rating: Not Yet Rated

Genre: Thriller, Horror

Distributor: Quiver Distribution

RUBBERHEAD: THE LIFE AND MONSTERS OF STEVE JOHNSON

Known for his intense work ethic, perfectionism, and obsession with breaking new ground, Steve Johnson created iconic creatures and effects for some of the most beloved horror and sci-fi movies in cinema history. RUBBERHEAD is a humorous and heartfelt portrait of the life and times of one of Hollywood’s most prolific monster makers, as well as a historical journey through the golden age of special effects makeup.

Steve shares endless, outrageous anecdotes about his freewheeling adventures in Hollywood, while also telling the inspirational but tragic story of his meteoric rise and subsequent fall. His drive and ambition led to some of cinema’s most groundbreaking effects and techniques, but also to heartbreaking acts of self-sabotage, divorce, and serious struggles with addiction.

RUBBERHEAD is a captivating reflection on the game-changing practical FX glory days and a fascinating, entertaining, and moving story of an FX master whose greatest monster may have been himself.

Director: Nick Taylor

Writers: Joseph Krings, Nick Taylor

Cast: Steve Johnson, John Landis, Linnea Quigley, Tom Holland, Bill Corso

Run Time: 105 minutes

Rating: Not Yet Rated

Genre: Documentary

Production Company: American Nightmare Studios

UNHOLY NIGHT

UNHOLY NIGHT – World Premiere

Synopsis: Gino’s traditional family Christmas Eve turns into a bloody battle for survival when his long-dead grandma drops by and goes on a murderous rampage. Amid the chaos, Gino reunites with his ex and the dysfunctional duo must avoid his dead Italian relatives popping up all around the neighbourhood as they search for a way to get rid of these Yuletide revenants and survive his family Christmas.

Director/Writer: Michael Gabriele

Producers: Jason Levangie, Marc Tetreault, Jenna MacMillan, Michael Gabriele

Executive Producers: Tina Carbone, Jef Burnham

Cast: Marc Bendavid, Shailene Garnett, Jacqueline Robbins, Toni Ellwand, Ron Lea, Christina Rosato, Olivier Renaud, Celia Owen, Ellen David, Frank Spadone, Al Sapienza

Genre: Horror/Comedy

Fantasia Premiere Status: World Premiere

Fantasia Section: Septentrion Shadows

Run Time: TBC

TIGHT LETTUCE

Near the border between Ontario and Quebec, Joel (Dakota Daulby, LONGLEGS) works in the construction industry. He has a healthy relationship with his partner (Christie Burke, ETERNITY), his mother (Maxim Roy, SHORESY), and his grandmother (France Castel, LES FURIES). The only stain on this picture is his father, Bodo (Emmanuel Bilodeau, CURLING), who has been struggling with a fentanyl addiction for years. He is unable to hold down a job, turns every place he ends up in into a slovenly dive, and is a potential danger to himself and others. Despite everything, Joel continues to try to help him, telling himself that if he loves his father enough, he will eventually manage to get the man’s life back on track.

Director

Harrison Houde

Producer

Serge Desrosiers

Writers

Dakota Daulby, Harrison Houde

Cast

Emmanuel Bilodeau, Christie Burke, France Castel, Josh Cruddas, Dakota Daulby, Guy Jodoin, Didier Lucien, Maxim Roy

Cinematographer

Serge Desrosiers csc

Sound Designer

Jérôme Boiteau

Composer

Pierre-Philippe “Pilou” Côté

Editor

Harrison Houde, Étienne Plasse

HOME BODIES

Red (Emma Ho, CODE 8, THE EXPANSE) and Blue (Ian Ho, THE EXPANSE, CHAPELWAITE) live a “Waiting for Godot” existence within the confines of a retro, automated dwelling. Food is always available, they are entertained by VHS tapes of a show called “Barn” starring a cow, a pig, and a chicken, and soothed by each other’s company. They report to Papa, a disembodied voice through a locked door that enforces the rules they live by. On a holiday that resembles Christmas, they receive a gift: Pal (Ess Hödlmoser, THE BOYS, STATION ELEVEN), an androgynous humanoid who doesn’t speak, and follows their lead. But Pal isn’t as benign as they seem. Pal also receives VHS tapes, but they are more disturbing, and Red, who was once wary of her new friend, becomes more enamoured of their expressionless new roommate. As Red and Blue learn about Pal, their discoveries soon drive a wedge between them. With vibes of Canadian genre classics PIN and CUBE, HOME BODIES is a surreal look at control, autonomy, nature vs. nurture, and the automation of our lives.

Director

Casey Walker

Producer

Karen Harnisch, Casey Walker

Writer

Adrian Murray, Marcus Sullivan

Cast

Emma Ho, Ian Ho, Ess Hödlmoser

SOUR MINNOWS

Synopsis: Two friends stumble upon an unusual sight: six men sensually licking the pavement on an empty LA street. For Ricky, this moment ruptures something. As his reality grows porous, and his memories begin to slip and slide, he finds himself in contact with “The Yellow Thing,” an entity that wears people like costumes. As Ricky adapts to his expanding worldview, a delirious new logic takes hold.

Director

Harrison Atkins

Producer

Harrison Atkins, Kate Banford, Mel Barnes, Allison Bunce, Anne Gormley, Suzanna Son, Sarah Winshall

Writer

Harrison Atkins

Cast

David Brown, Phil Burgers, Julia Jones, Suzanna Son, Chase Williamson

THE GLORIOUS DEAD

A small-town sheriff (Toby Poser) and her young deputy (Zelda Adams) wake to find the world they believed in no longer exists. Blood drips from faucets, people and pets are missing, and fleshy creatures walk the woods. Soon, the dirt can’t keep the dead down. Anger and fear spread through the community. Co-written and co-directed by John Adams and Toby Poser, the latter of whom also stars, and co-starring Zelda and Lulu Adams, THE GLORIOUS DEAD is a personal genre vision that speaks to the increasing horrors of American life in times of enormous, instigated division while retaining the interpersonal poetry, imagination, and dark humor that its creators are renowned for. This will be the sixth consecutive work from the singularly talented filmmaking family to World Premiere at Fantasia following the festival’s launches of THE DEEPER YOU DIG, HELLBENDER, WHERE THE DEVIL ROAMS, HELL HOLE, and MOTHER OF FLIES, the latter having won our 2025 Cheval Noir Award for Best Feature. In their words: “This film takes dangerous fundamentalism at face value and asks what remains for the rest of us.” World Premiere.

Directed by Toby Poser, John Adams

Cast Zelda Adams, Toby Poser, Lulu Adams

BIRDCALL

BIRDCALL tells the story of a foolhardy scientist and his wife, a wayward survivor, as they endure a world overtaken by an avian-borne disease that has forced humanity into secluded cities. Unbeknownst to his wife, the scientist has recently become infected himself. While isolated in a cabin outside of their compound, he uses their seclusion as a trial run for an untested cure, risking both their lives in the process.

The 15-minute short is directed by Justin Calandriello; Written by Halle Kott; Produced by Calandriello, Sam Beaton and Halle Kott; Associate Producer: Casey Marie Ecker and Cinematography by Joshua Popovsky.

BORN OF WOMAN 2026

This shorts block is my absolute favorite every year. Full Stop.

Fantasia’s top-tier showcase of uncompromising personal genre visions returns with nine works from five countries that will leave you shaken and astonished. From Germany to South Korea, Brazil to the USA and more, dark brilliance awaits.

Angels (USA, dir. Sam Mandich, World Premiere)

Breeder (USA, dir. Sapphire Sandalo, International Premiere)

Fingerbang (South Korea, dir. Kim Yeon-woo, Canadian Premiere)

Imprint (USA, dir. Ran Jing, International Premiere)

O Novo Corpo (Brazil / Portugal, dir. Luciana Malavasi, North American Premiere)

Redneck (USA, dir. Alexandria Basso, International Premiere)

Sam (USA / Germany, dir. Catharina Schürenberg, World Premiere)

Strange Egg (USA / USA, dir. Liv Mershon, World Premiere)

Ultraviolet Damage (Germany, dir. Pola Rader, North American Premiere)

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HEAT OF MADNESS

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V/H/S/MIXTAPE

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Stronger Than The Devil

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Disforia

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The Restoration of Grayson Manor

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LADY

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Girl In The Night

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THE INCOMER

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Death Has No Master

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SICK

SICKFeature Film (Poland)(World Premiere, 2026, 90 mins, In Polish with English subtitles)(Drama/ Horror)

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The Sun Never Sets

IN THEATERS EVERYWHERE SEPTEMBER 4, 2026

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Oddities

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Grimmfest 2026 Passes on Sale now and selling fast!

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ICE CREAM MAN

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THE FATED HOUR

Director

Executive Producer

Producer

Writer

Cast

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HOME BODIES

World Premiere Screening

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NIGHTBORN

Synopsis

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SICK
Feature Film (Poland)
(World Premiere, 2026, 90 mins, In Polish with English subtitles)
(Drama/ Horror)