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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Motherwitch (Grimmfest 2026) Magic and mourning

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

Motherwitch

Minos Papac‘s Grimmfest 2026 feature Motherwitch is an engaging folk horror and gothic fantasy. Set in 1882 during the British occupation of Cyprus, the story follows Eleni (Margarita Zachariou), a grieving painter isolated from her village after losing her three children in a tragic accident. Consumed by grief and anger, Eleni performs an ancient ritual—using the blood of a lonely, abused local boy named Michalakis (Sifis Katsoulakis) in a magic portrait—to resurrect her children.

Eleni’s ritual brings unintended consequences; instead of her children returning, the Kalikantzari (mischievous, goblin-like chthonic creatures from Cypriot folklore associated with the 12 days of Christmas) plunge her isolated village into supernatural terror. Eleni must confront her unresolved trauma and save Michalakis to lift the curse.

margarita_zachariou_in_motherwitch_2_55651

Papac delivers a compelling duality in Eleni’s intentions. While using Michalakis for his blood, she simultaneously realizes the abuse he suffers at home and nurtures his gently inquisitive nature and artistic talent. As the chaos ensues, Eleni’s sorrow manifests into a female spirit that mirrors her grief. Only when she realizes that love, forgiveness, and acceptance conquer all does the curse break.

Young Sifis Katsoulakis is mesmerizing as Michalakis. He brings authentic moments of innocence and wonderment, easily stealing any scene he appears in. The loss of a child is an unimaginable premise for any parent. It is a depth of grief that haunts women daily as our instincts to protect remain on a constant high alert. Lead actress Margarita Zachariou explores sadness with visceral intensity. Her haunting turn will captivate you.

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Eleni’s charcoal drawings cleverly serve as foreshadowing. The landscape is straight out of a fairy tale. Cinematographer Jack McDonald captures the glorious natural beauty of Cyprus’ countryside. Filmed in an abandoned 15th-century village, McDonald utilized natural light and firelight to their fullest. The Kalikantzari initially appear in a series of shadows, sudden, strong wind gusts, momentary, emaciated touches in which we see only a small hand, and in Michalakis’s glowing red eyes. Once visible to Eleni’s, the SFX work from Goran Ignjatovski reminds me of throwback fantasy films like Ridley Scott’s 1985 LEGEND.

Motherwitch is an exquisite exploration of the stages of grief through folklore and horror. Visually breathtaking, it’s a dazzling addition to this year’s schedule

Premiere status: UK
Length: 104 mins
Year: 2026
Rating: 15
Language:Greek/Cyprus
Director: Minos Papas
Writer: Evripidis Dikaios, Nikolas Kouroumtzis, Minos Papas
Producers: Constantinos Nikiforou
Cast: Margarita Zachariou, Miltos Yerolemou, Jason Hughes

For more Grimmfest, click here!

Ithaqua (Grimmfest 2026) Gothic Western Folklore Horror

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

Ithaqua

Filmmaker Casey Walker‘s Grimmfest 2026 film Ithaqua begins in 1821 in the barren lands surrounding a Canadian fur-trading post and fort. Hope dwindles as a small enclave of settlers and natives nears starvation. An American mercenary and scout is tasked with finding the larger native population to ensure the eclectic group of foreign colonizers survives the winter. But something ancient and evil looms over their journey, and it is closer than they can ever imagine. Inspired by Native American wendigo lore and H. P. Lovecraft Cthulhu Mythos, Ithaqua is here to terrorize and tantalize genre fans.

Halfway through, the film takes a sharp genre turn from frontier survival drama to, well, I won’t spoil it. But holy hell, it’s a bold choice. Based on Walker’s story, with co-writing by Peter Scott Vicaire and Pascal Trottier, Ithaqua suddenly- the audience is not simply on edge; we are completely shocked and twice as engaged. They still manage to inject much-needed levity into the dialogue to break the tension when called for. It is a skillfully woven story, to say the least.

Ithaqua’s cast is phenomenal. Performances from Pamela Matthews, Peter Millard, and Aaron Poole deliver unforgettable performances. Michael Pitt plays the town’s power-hungry Magistrate. His smarmy attitude transfixes as it twists and turns into cinematic chaos. Kevin Durand is brilliant as the proud Lieutenant working under Pitt. His arc is simply delicious. Not quite enemies-to-lovers, but we’ll take it. Leenah Robinson is truly spectacular as Cole’s native partner, Ahnung. Likely the most grounded character, she is compelling as hell. Luke Hemsworth delivers a perfectly flawed hero archetype as Cole Franklin. You are genuinely rooting for him from beginning to end.

As soon as I saw Blitz/Berlin did the music, I got excited. They never let me down. Bryn McCashin‘s sweeping cinematography sets the stage for vast, cold isolation. Practical FX and make-up teams deserve all the accolades. From native folklore to cannibalism to terrifyingly curated, strategically placed flashbacks, ITHAQUA hypnotizes the viewer with canon breadcrumbs, dread, and dazzling performances. With world-building akin to Sinners, the script dives headlong into darkness and never leaves. I respect the hell out of that.

For more Grimmfest, click here!

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

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

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Grimmfest (2021) review: ‘Night at the Eagle Inn’ is written by genre fans, for genre fans.

Posted on October 18, 2021 by Liz Whittemore — Leave a reply

NIGHT AT THE EAGLE INN

Fraternal twins spend a hellish night at the remote inn their father disappeared from the night they were born.

Coming to the place where your parents both died the night you were born seems like a normal and healthy thing to do, right? An aging hotel, clearly in need of some more inhabitants, but we’ll get to that later, as twins Sarah and Spencer yearn for answers. Greeted by an unusually overzealous Night Manager and later, meeting up with the only other staff member, the two fight boredom and an eventual holy terror in this fateful place.

The imagery is thoroughly eerie. Did you ever get that uncomfortable, icky feeling watching something? Well, Night At The Eagle In serves that up in spades. Get ready for mentions and/or homages to Poltergeist, The Shining, The Twilight Zone, Misery, and more. It’s a film by genre fans, for genre fans.

Greg Schweers plays The Night Manager of Eagle Inn with a quirky quaintness that evolves into something terrifying. He’s so cheerful in his menace he makes your skin crawl. Amelia Dudley and Taylor Turner have great chemistry together. Their banter feels familiar and familial. The twin act works. The audience is invested in these two.

Beau Minniear, as Dean, has a charm that grows exponentially as the story progresses. He’s the only guide Sara and Spencer have through the chaos. But, can he be trusted? Minnear’s energy is steady, and he owns each frame he appears in. The script allows him to play comedy and crazy. He’s a total star.

The emotional abuse and torture these two experience flows off the screen. Writers Carson Bloomquist and Erik Bloomquist, who also directs, give us a tight 70 minutes that could easily be a Creepshow episode. (Shudder, take notice.) The final reveal is fantastic. Stick around for the credits, why don’t you? The film might as well be titled Hotel California because *spoiler alert*

You can check out any time you like,
But you can never leave!

Director:

Erik Bloomquist
Screenwriter:

Erik Bloomquist, Carson Bloomquist
Producer:

Erik Bloomquist, Carson Bloomquist
Cast:

Amelia Dudley, Taylor Turner, Greg Schweers, Beau Minniear, Erik Bloomquist
Cinematographer:

Thomson Nguyen
Editor:

Erik Bloomquist, Carson Bloomquist

Grimmfest (2021) review: ‘The Guest Room’ (AKA La Stanza) checks in with trauma.

Posted on October 18, 2021 by Liz Whittemore — Leave a reply

THE GUEST ROOM

The morning Stella decides to take her own life, a stranger knocks at her door claiming he has booked the guest room for the night. Surprised but charmed by this man who seems to know her very well, Stella decides to let him in. But when Sandro, the man who broke Stella’s heart, joins them at home, this odd situation turns immediately into chaos.

From the very first frame, the audience is consumed by whatever darkness resides in these walls. The colors and set scream haunted house. The score is a thrilling combination of beauty and ear-piercing madness. The camera work adds an extra layer of eeriness. This unexpected guest knows too much. What could he want? Who is he? Pay close attention.

Stella is played by Camilla Filippi with a pang of sadness and desperation that engulfs the viewer. Something is amiss. As details slowly emerge, her energy shifts with every beat. She’s simply captivating. Guido Caprino, as Guilio, the mysterious guest, walks a fine line between suave and scary. His agenda is unclear, and his entire aura is intrusive. Caprino’s intensity grows exponentially as the story progresses. It’s one hell of a performance.

The Guest Room is emotional torture porn and a terrifying, genre-bending story of redemption. I’ve never seen anything like this film before. As a mother, it affected me on another level. It’s surprisingly profound. Stefano Lodovichi has given GRIMMFEST audiences something truly breathtaking and unique.

Director:

Stefano Lodovichi
Screenwriter:

Stefano Lodovichi, Francesco Agostini, Filippo Gili
Producer:

Andrea Occhipinti
Cast:

Guido Caprino, Camilla Filippi, Edoardo Pesce
Cinematographer:

Timoty Aliprandi
Editor:

Roberto Di Tanna

Grimmfest (2021) capsule review: ‘The Spore’ floats by with gag-worthy gore.

Posted on October 18, 2021 by Liz Whittemore — Leave a reply

THE SPORE

The lives of ten strangers intersect through a terrifying chain of events as a mutating fungus begins to spread through a small town wiping out everyone that comes into contact with it.

With undeniable Cabin Fever vibes meeting the reality of this very real global pandemic, THE SPORE is B horror moving making at its finest. Minutes in, I registered my elevated pulse and the first jump scare was a classic. THE SPORE gets everything right. Dreaming In Neon‘s new wave heavy score is ominous and spine-tingling. A great deal of the early terror comes in the form of radio broadcasts, allowing the audience to create their own fear response. Writer-director-editor D.M. Cunningham created a celebratory schlockfest for GRIMMFEST 21 audiences. If I’m being nitpicky, the voice actress who plays the radio reporter at the beginning of the film sounds less like an actual reporter and more like an audiobook actress. That familiar cadence of someone in the field is missing. To be frank, a majority of the acting is B horror quality. In no way does this lessen the overall entertainment value of The Spore. I was constantly yelling at the screen, “Aww, come on! Don’t do that!” The cinematography is fantastic. The makeup and practical FX are gag-worthy. This is one of the best aspects of the film. Huge high fives to the team for giving me plenty of gross goodies to look at.

Director:

D.M Cunningham
Screenwriter:

D.M Cunningham
Producer:

D.M Cunningham, Tara Cunningham, Brian Hillard, Keith Golinksi
Cast:

Haley Heslip, Peter Tell, Jackson Ezinga, Jeannie Jefferies
Cinematographer:

Keith Golinksi
Editor:

D.M Cunningham

Grimmfest (2021) review: ‘Alone With You’ is a startling debut for Emily Bennett and Justin Brooks.

Posted on October 18, 2021 by Liz Whittemore — Leave a reply

ALONE WITH YOU

While waiting for her girlfriend to return home for their anniversary, Charlie Crane discovers she’s trapped inside her apartment and begins a frantic fight for survival as nightmarish visions descend and a voice in the wall guides her towards a way out.

Emily Bennett understands how to accentuate a feeling of claustrophobia. Stuck in a wildly angled apartment, brimming with eccentric kitsch, Charlie awaits the arrival of her girlfriend behind a front door that won’t open. As time passes, confusion arises. Simone should be home by now. Charlie hears voices, doesn’t know what time it is, and things seem to move on their own. Reality shifts under her, and things get worse by the minute.

The success of Alone With You lies within the minute details. Keep a sharp eye on every frame. The script is dizzying. The longer Charlie is trapped, the more overwhelming the story becomes as memories flood in. There is a jump scare so fantastically timed that I stumbled backward and gasped. And the transition that follows makes things all the more intriguing. Barbara Crampton plays Charlie’s mother. She’s a conservative woman who doesn’t want to accept her daughter. Although Crampton only appears in two scenes, she owns them. She’s a legend. She never fails to amaze.

Dora Madison, as Thea, is fantastic. She’s got this crunchy, stoner vibe. The way she holds the phone during her video calls with Charlie is incredible. It adds to the realism of her party friend vibe. Madison’s laid-back attitude counters Bennett perfectly. Emma Myles, who you’ll recognize from Orange Is The New Black, plays Simone. She’s the photographer girlfriend of Charlie. The script allows her to play both soft and hard moments, and she kills it.

Emily Bennett and Justin Brooks have written one hell of an arch for Charlie. You can see the sanity slowly drain from her eyes. It takes a lot of energy to be in every single scene. She knocks it out of the park. Alone With You keeps you on your toes, constantly second-guessing what might be happening. So much of the terror relies on sound. This only makes Bennett’s performance more impressive. The mystery and horror thrill you until the very last frame. It’s one hell of a debut.

Director:

Emily Bennett, Justin Brooks
Screenwriter:

Emily Bennett, Justin Brooks
Producer:

Andrew Corkin
Cast:

Emily Bennett, Barbara Crampton, Dora Madison, Emma Myles, Meghan Lane

Grimmfest (2021) capsule review: ‘Seagull’ captivates with deep trauma.

Posted on October 12, 2021 by Liz Whittemore — Leave a reply

SEAGULL

After 8 years survival on a beach, Rose returns to her home town to settle unfinished business.

A portrait of mental health, gaslighting, and abuse, Seagull exposes one family’s dark secrets. The script is a slow-burn mystery with a creative, physical manifestation of grief and betrayal. Rose has exiled herself for eight years; her family disowned her. As the plot reveals itself, this dysfunctional family unit must confront its part. While I predicted the overall arc, this does not lessen the emotional impact of writer-director Peter Blach‘s choices. The best performances come from Gabrielle Sheppard as Rose and Adam Radcliffe as Geoff. Sheppard gives power to Rose. Her vulnerability and strength shine off the screen. With James Abbott and Blach’s script, Radcliffe is allowed to play the entire spectrum of emotions. He is terrifying. The cinematography by Rami Bartholdy is breathtaking. The film gets under your skin and lingers there. Seagull has an ending so satisfying, Grimmfest audiences will get their catharsis, and in true genre fashion.

Grimmfest (2021) review: ‘Shot In The Dark’ has a brilliant and bloody storytelling structure.

Posted on October 12, 2021 by Liz Whittemore — Leave a reply

SHOT IN THE DARK

Two years ago, William Langston made a mistake that would affect the course of his life. Now, with a killer loose in his home town and his circle of friends falling away one at a time, William faces his greatest fears as well as his own mortality.

Shot In The Dark is emotional and physical torture porn driven by incel behavior and extreme toxic masculinity. But, it’s also a relationship film. Keene McRae and Lane Thomas’ screenplay slowly gives you insight into William’s circle of friends and how their social dynamics have decayed over time. The small-town mayhem takes a personal turn very early on. While some minute details still left me with questions, I was captivated by the script’s structure.

Austen Hubert plays the role of Josh Ferrel. He gives a nuanced performance. Christine Donlon, as Lili, hits you right in the heart. She’s charming and earnest. You are invested in the relationship between William and Lili. Kristoffer McMillan, as William, is a fully fleshed-out, honorable man. This character is the life-breath of this film. Depression has consumed him, and that darkness becomes his fatal flaw. His tragic backstory is the catalyst for a psychopath. McMillan, who is also a co-writer, owns every frame.

GRIMMFEST 2021 audiences will be taken aback by this film, no doubt about it. The ending will shock and infuriate you. Shot In The Dark is a hell of a feature debut for Keene McRae. With a script like this, we’ll all be clambering for whatever comes next.

[Available October 15, 2021, 1:30 – 11:30 PM] Watch now online…

Grimmfest (2021) review: ‘We’re All Going To The World’s Fair’ showcases the terror of living online.

Posted on October 12, 2021 by Liz Whittemore — Leave a reply

WE’RE ALL GOING TO THE WORLD’S FAIR

“I want to go to the World’s Fair. I want to go to the World’s Fair. I want to go to the World’s Fair.” Say it three times into your computer camera. Prick your finger, draw some blood and smear it on the screen. Now press play on the video. They say that once you’ve seen it, the changes begin… In a small town, a shy and isolated teenage girl becomes immersed in an online role-playing game.

Voyeuristic intimacy meets horror internet challenge We’re All Going To The World’s Fair speaks directly to the danger of the YouTube generation. Casey is a loner who seeks refuge online. When she takes an internet challenge, something that has had real-life, deadly consequences in recent years, her small world gets vastly stranger. We’re All Going To The World’s Fair tackles many weighty subjects; loneliness, depression, mental illness, identity, and gullibility. There’s the parent/child dynamic that, when present, is filled with fear and emotional abuse.

Michael J Rogers plays JLB with majorly creepy vibes. From his voice to his subtle physicality, Rogers embodies a chilling persona. The viewer is left to interpret his intentions. It is a disturbing performance. Anna Cobb‘s feature debut is a powerhouse. What a fearless and natural performance. She exudes innocent charm. She’s a loner, clearly not by choice. Once the challenge creeps into her psyche, this becomes something altogether different. Wow, cannot even begin to describe the arc, both physically and emotionally. It’s a stunning turn.

Writer-director-editor Jane Schoenbrun paints a bleak picture of Casey’s hometown. Long takes, some through Casey’s laptop and others handheld, give the film a gritty feel. The lengthy scenes put so much of the film’s success directly onto Anna Cobb’s shoulders. She has a massive responsibility to fill the screen, and she pulls it off like gangbusters. A bonus, the soundtrack is cool as hell. The ending is ambiguous. Something about it is perfectly unsettling.

[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…

Grimmfest (2021) review: ‘Night Drive’ shifts into an entirely new gear.

Posted on October 12, 2021 by Liz Whittemore — Leave a reply

NIGHT DRIVE

A ride share driver’s life is turned upside down after an unexpected series of misfortunes.

Russel drives for Jaunt, an Uber-like app, shuttling people of all types all over L.A. After a young female passenger named Charlotte requests an added stop, Russel becomes caught up in a plot no one would see coming. This seemingly mundane premise spirals into shocking chaos that never ends. It’s an awesome commentary on how power changes the human soul. The chemistry between Sophie Dalah and AJ Bowen is electric. Their witty repartee and Charlotte’s penchant for danger keep the stakes and excitement high. With films like The Toll, Spree, and The Stranger, rideshare horror is an ever-expanding subgenre. Meghan Leon and Bradford Baruh share directing and producing credits. Baruh also plays the role of DP. Leon adds editor to her resume in addition to screenwriter. This script takes us on one wild ride. What feels like a set-up we’re getting used to becomes a (SPOILER ALERT) neo-noir sci-fi! It’s such an incredible payoff for an already tight 80 minutes. When are we going to normalize shorter runtimes with outstanding storytelling? Night Drive sets a strong precedent. Do I smell franchise potential? I could get revved up for that.

[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…

Grimmfest (2021) review: ‘The Free Fall’ lands a win with unexpected storytelling.

Posted on October 12, 2021 by Liz Whittemore — Leave a reply

THE FREE FALL

Sara wakes from a coma to a life she doesn’t remember; a fragile, slippery reality that spirals into a nightmare where nothing is as it seems.

Boasting a bloody good opening, Adam Stillwell‘s The Free Fall is brimming with sinister intent. The set is a genre fan’s funhouse. During the title sequence, the camera explores the rooms with sweeping POV shots, placing the viewer on a haunting tour of the space. The house is vast, dark wood from ceiling to floor, art, and jewel-toned furnishings create both a warm and eerie feel. You know this house, and you anticipate evil in its halls.

Shawn Ashmore and Andrea Londo have a chemistry that remains at arm’s length. Londo plays Sarah with an overwhelming sense of anxiety shared openly with the audience. She commands with her innocence. Shawn Ashmore, as Nick, is cocksure and manipulative. There’s something off about his behavior. Ashmore makes you just as uncomfortable as Sarah. His commitment to the arc of Nick’s character is awesome.

Screenwriter Kent Harper‘s use of gaslighting and genre tropes keeps the audience guessing. You’ll need to understand what the hell is happening. There is a dinner party scene that has a cultish overtone. The transitions in this scene, score in particular, change the dynamic of the entire film. From that moment on, theories will wrack your brain. You will not see where this is going. When all is said and done, The Free Fall is a twisty mindfuck.

[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…

Stronger Than The Devil

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Disforia

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Motherwitch

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NIGHT AT THE EAGLE INN

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THE GUEST ROOM

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THE SPORE

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ALONE WITH YOU

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SEAGULL

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SHOT IN THE DARK

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WE’RE ALL GOING TO THE WORLD’S FAIR

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NIGHT DRIVE

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THE FREE FALL

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