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Split Rock (Brooklyn Horror 2026): Cosmic horror

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Brooklyn Horror 2026

Split Rock

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Filmmaker Ryan Glover spins an unsettling cosmic horror tale at Brooklyn Horror Film Fest 2026. We follow two geologists and romantic partners, Lauren and Ben, as they conduct survey work in the remote Canadian Badlands. As Ben departs to gather the rest of their small team, Lauren notices an overwhelmingly bright reflection on the hillside. The spot hypnotizes her, causing blackouts, visions, and a mysterious pull she cannot explain. Once they uncover an unusual and highly magnetic rock just under the surface, things go very wrong.

Glover’s sophomore feature after The Strings serves another narrative dripping in atmospheric dread. Shot on 16mm, the film has an eeriness harkening back to The Texas Chain Saw Massacre. Nikolay Michaylov’s exquisitely framed cinematography during the opening credits establishes our protagonists’ isolation. The string-heavy score feels ripped straight from The Omen. It is relentless and ear-piercing.

Split Rock feels like an homage to a handful of classic genre films while staying original. With a touch of Stephen King‘s Deadlights canon and a shit ton of H.P. Lovecraft, trust its pace.

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Olivia Luccardi is spectacular in everything. As team member Sarah, she infuses the film with the energy that the slow burn sucks out. It would be very different without her balance. She is my favorite character. Drew Ray Tanner‘s Ben is protective in all the right ways. Quiet and contemplative, he is undeniably compelling.

As Lauren, Clark Backo bears a huge burden. Being the main person our mysterious rock has a physical and mental stranglehold on, Backo must fill the frame for extended periods, and the audience has to place themselves in her mindset. She navigates the calculated deterioration like a pro.

Split Rock banks on your ability to wait and get a few genuine answers. If you can simmer in constant discomfort, this is your jam. Come for the genre promise, and STAY for the final 15 minutes filled with body horror and insane practical FX. Split Rock will premiere on Shudder on December 25th.

Directed and Written by RYAN GLOVER

Starring CLARK BACKO, DREW RAY TANNER, OLIVIA LUCCARDI, and GRAHAM VERCHERE

Produced by BRIAN ROBERTSON, JEFFERSON MONEO, and KRISTA DZIALOSZYNSKI

Executive Producers RYAN GLOVER, KATE MELVILLE, FABIOLA CARAZA, PATRICK HACKETT, and DANIEL FUTA

Synopsis:

While conducting survey work in the remote badlands, geologists and lovers Lauren (Backo) and Ben (Tanner) uncover a mysterious block of magnetic stone embedded in the earth. As their team investigates, their equipment begins to fail, and a violent unseen force emerges. Lauren becomes obsessed with the ancient block, convinced that an eternal consciousness is using her mind to reach the surface. When Ben attempts to stop it, the outcome leaves the duo and their team forever altered.

Horror | 98 minutes | 35mm | Canada | 2026

Content Warnings: Suicide, Self-Harm

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GRIND (Sitges 2026): Killer capitalism is a gas.

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GRIND

Filmmakers Brea Grant, Ed Dougherty, and Chelsea Stardust bring Sitges 2026 audiences a new horror-comedy anthology with twisted, tongue-in-cheek takes on capitalism, gig work, and hustle culture. GRIND begins in the aisles of an innocuous DRGN distribution center, when a worker must locate a black box marked for Special Delivery as punishment for not pulling product quickly enough. Chelsea Stardust tackles the corporate warehouse rumor head-on. And yeah, it really is like that. I know a floor manager.

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Enter Brea Grant’s hilarious rip on the MLM Lula Roe; we follow a fledgling girl boss as she jumps into the cutthroat world of Lala Leggings. Selling your soul comes with fine print, and the consequences of not reading the contract are relentless and supernatural.  Gotta make that money, honey, or else.

Barbara Crampton nails the perfectly coiffed Founder, with Jessika Vann playing the newbie and Courtney Pauroso as her pyramid scheme mentor. The chemistry and performances are outstanding. Sarah reaches her breaking point as the absurdity increases tenfold. It will have you doubled over.

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Grant continues with gig-work giggles in the food delivery industry. Our protagonist, Benny, constantly takes abuse from customers only to come up short on shared rent. When one bizarre delivery request ramps up the tips, the awkward asks deem too tempting to stop. All Benny has to do is follow the customer’s instructions. Simple, right?

Vinny Thomas is outstanding as Benny. His infectious positive energy has you rooting for him to make that money, honey. The text bubbles and interactive instructions are genuinely cool. This sci-fi short is almost like playing a horror video game. Or maybe it’s the definition of insanity.

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Ed Dougherty’s Content Moderation segment brings back the underlying concept of dopamine hits as an eager DRGN employee scores a trial period on the ground floor. It just so happens to be content moderation from the internet’s darkest dregs. Equal parts gory violence, stupidity, and hysterically funny, the audience gets a rapid sneak peek at it all.

The closer Joel gets to finishing his 6 million-plus videos, the more encouragement and pressure from his colleagues he feels to make it out. As the lines of reality start to blur, Joel’s modicum of sanity quickly wanes, or before he discovers something more sinister. We can hate all we want, but capitalism might kill us all.

Christopher Rodriguez Marquette, who I absolutely loved in Fear, Inc. (which deserved a damn franchise), is spectacular. Playing it straight, narrow, and mostly calm against Rob Huebel‘s elite nonchalance as Andy, a DRGN exec.

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Dougherty’s second segment finds a small group of Neptulia Coffee employees as they initiate a lock-in to unionize. A knock at the door and the delivery of a monolithic black box throw this eclectic group into further chaos. Can differently minded co-workers band together? Buyer beware, this brand is killer. This hilarious ensemble cast hits every comedic beat. Huge shout to Ify Nwadiwe. Make his coffee always be hot, but not too hot.

Stardust finishes us off with one final surprise, wrapping GRIND up in a shiny red bow, or rather, one last black box. Chef’s kiss. Grant, Dougherty, and Stardust deliver seamless transitions from one story to another, while cleverly connecting to each other with either a visual, an actor, DRGN delivery trucks, or an overarching corporate monster (*pun intended).

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GRIND features a large and unbelievably talented group of artistic collaborators. Every detail is accounted for. The editing is truly fantastic. Production design is a hand-crafted delight. Camerawork is fun and immersive. Don’t move during the credits for some extra ear candy and laughs. My smartwatch clocked signs of distress while watching the film. If that’s not some diabolically honest, real-time feedback, I don’t know what is. Well done, Team. Grant, Dougherty, and Stardust never miss a satirical analogy. The filmmaker is to the critic as the worker is to the consumer. Money makes the world go round, but it might also kill you. GRIND is an instant classic.

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The Morgue Twins (Black Public Media) Honoring legacy

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THE MORGUE TWINS

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In Rebecca Blandón‘s short film THE MORGUE TWINS, retired identical twin brothers Melvin and Marvin Morgan reflect on their over 20 years in the death-care industry.

In sixteen minutes, these men express a profound outlook on life and death that most of us would rather sweep under the rug. Audiences get a fascinating behind-the-scenes look at a morgue, autopsy tools, and the Morgan brothers’ very specific and necessary jobs. They discuss the job’s unfathomable emotional toll. Even if they claim to disassociate, the audience can see it written all over their faces.

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Besides the touching personal revelations, true crime fans will be riveted by the insider knowledge and what feel like secrets of the profession. (I’m looking at you, SVU faithful.) Melvin and Marvin are on a higher plane of humanity. These extraordinary gentlemen have lived their lives in service of everyone else. This short honors their legacy with all the respect and kindness they have earned.

The Morgue Twins premieres on Black Public Media’s (BPM) AfroPoP Digital Shorts series, Monday, October 19. Rebecca Blandón’s film follows retired mortuary technicians and identical twins Marvin and Melvin Morgan as they reflect on two decades of work in New York City’s death-care industry and consider their own mortality. The film will stream on Black Public Media’s YouTube channel.


For more than two decades, the Morgan twins, who were named after a funeral home, worked in close proximity to death. Melvin worked at Elmhurst Hospital, including when it was an epicenter of New York City’s COVID-19 pandemic; Marvin worked at the New York City Medical Examiner’s Office and served after tragedies like the September 11, 2001, attacks, and the American Airlines Flight 587 crash in Queens later that year. As technicians, their duties were exacting and intimate: collecting bodies, assisting with autopsies and caring for the dead. In their spare time, the twins advocated for the living — creating local sports youth leagues, advocating for voter rights, and collaborating with the city council to create a safe and thriving community. In the film, the brothers speak candidly about the toll their work has had on their psyches and how it informs their perspectives on life and death.


Blandón, a Nicaraguan-American documentary filmmaker born and raised in the Bronx, served as director, cinematographer and editor of the film. Her independent films, including Corpus Christi, Glen Eden and Run the Meter, have screened at festivals, been exhibited at museums and received support from The Bronx Documentary Center, The Jacob Burns Film Center, Rooftop Films and the New York State Council on the Arts. As a visual journalist, she has created award-winning work for news organizations including The New York Times, Axios, PBS Frontline and The Boston Globe.


BPM is a Harlem-based national media arts nonprofit that funds and helps distribute stories about the Black experience and supports the filmmakers and media makers who tell them.
“Rebecca’s film is a moving portrait of two brothers who spent more than two decades facing what most of us look away from, meeting death with professionalism, humanity and grace,” said Denise A. Greene, BPM director of programs and curator of AfroPoP Digital Shorts. “The twins’ service is part of an enduring tradition of care in Black communities, where tending to the deceased has long been an act of dignity, service and respect.”


With The Morgue Twins, BPM continues its commitment to advancing Black stories, despite Congress’s 2025 rescission vote, which defunded public media and eliminated $1.8 million from BPM’s budget. In response, BPM launched the Black Stories Production Fund, supported by a grassroots fundraising campaign. The 1.8 Million Donors campaign seeks to raise $9 million to help ensure that Black stories are never again left vulnerable to political interference or chronic underinvestment.

To support BPM’s Black Stories Production Fund, visit: https://secure.everyaction.com/IkFxVSdjX0qpQkceW1r27g2.

For more information about BPM, go to blackpublicmedia.org or follow it on social media at @blackpublicmedia (IG, FB, TikTok and LinkedIn).


ABOUT BLACK PUBLIC MEDIA:
Black Public Media supports the development of visionary content creators and distributes stories about the global Black experience to inspire a more equitable and inclusive future. For nearly 50 years, we’ve invested more than $18 million toward iconic documentaries and innovative immersive media projects. We help independent makers — especially those whose work might otherwise be overlooked — bring their stories to life and reach audiences.
BPM-supported projects have earned numerous awards, including five Anthem Awards, five Emmys, 10 Peabodys, 14 Emmy nominations and an Academy Award nomination.

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MORELIFE (Twin Cities Film Fest 2026) Shines in unrelenting truth and outstanding performances

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MORELIFE

morelife poster

With his Twin Cities Film Festival 2026 World Premiere, C.J. Renner offers audiences a quietly profound tale of connection laced with pure heart and unexpected whimsy. In MORELIFE, two men pause their suicide attempts on the edge of a bridge. Shawn is a young man in his 20s. Kermit is older. How much? We don’t know, because he has a fish head. Striking a deal to experience something worth living for, Kermit describes the rumored collective joy of the rare morel mushroom. A quest to taste one ensues. This unique road movie will bewitch you.

The dialogue is equally quippy and philosophical. Shawn and Kermit explore topics across the board: capitalism, art, environmentalism, religion, childhood, regret, and love. Kermit becomes the ultimate hype man for existence, challenging Shawn’s apathy at every turn. But the tables slowly turn as the duo comes closer to finding personal happiness.

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No one in Shawn and Kermit’s sphere bats an eye at Kermit’s face. His appearance becomes normalized as he and Shawn get deeper into their journey. It doesn’t physically change, but the audience becomes so accepting that you eventually forget about the mask entirely. It’s a true testament to Renner’s dialogue and Clayne Crawford‘s performance.

Jackson Whitman is exceptional, keeping pace with his foil’s eccentricities. Clayne Crawford is enchanting and funny, putting on accents and letting his body language become living theatre. Their chemistry is heaven-sent. It’s like watching a chess match of sarcasm, anger, silliness, and yearning.

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Sarah Mevissen’s editing is truly impactful. Her utilization of slow motion is perfection. The soundtrack swings between intoxicating and celebratory. The score is like a curated list of meditation tracks, perfect for soul-searching. Ben Enke‘s cinematography is delicious, filled with thoughtful close-ups and unusual angles that make you sit up a bit straighter and focus on the dialogue.

The metaphor of a morel is fascinating. The audience hears Shawn explain the mushroom’s elusive prestige through voice-over, forcing elegant, contemplative moments. The film’s final shot is everything. Renner understands the simplest truths; it is the small things, connection is life, and we don’t always get a happy ending. MORELIFE exquisitely captures it all.

MORELIFE Trailer:

MORELIFE actively embraces a lo-fi aesthetic that harkens to the heyday of 90s and early-00s offbeat cinema, giving shades of Charlie Kaufman, early Wes Anderson, and Richard Linklater in his prime. Shot against the backdrop of Minneapolis, this beautifully strange, life-affirming drama stars stage actor Jackson Whitman (recently seen in The Public Theater’s Free Shakespeare in the Park production of The Winter’s Tale in New York’s Central Park) and Clayne Crawford (star of FOX’s Lethal Weapon), with the latter’s utterly-remarkable performance completely under a rubber fish mask.

MORELIFE is written and directed by C.J. Renner, and stars Jackson Whitman and Clayne Crawford. It is produced by Back40 Pictures.

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

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V/H/S/MIXTAPE

VHSMixtape

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?

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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.

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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.

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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.

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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

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Stronger Than The Devil

stronger than the devil poster

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.

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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

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Disforia

disforia poster

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.

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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

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Motherwitch

motherwitch poster

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.

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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.

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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.

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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

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

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The Restoration of Grayson Manor

The Restoration of Grayson Manor poster

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

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LADY

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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.

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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.

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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.

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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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SICK (Fantastic Fest 2026) Gagworthy sibling summer

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SICK

Photo 1- SICK (Photo Credit_ ©Maciej Edelman)



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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The Sun Never Sets (2026): Authentically messy love

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The Sun Never Sets

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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.

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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.

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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.

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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.

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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

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Our Hero, Balthazar (2026): I need you to pay attention to this film.

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Our Hero, Balthazar

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Oscar Boyson‘s dark, complex, and grossly timely film, Our Hero, Balthazar, has arrived to jar you. Affluent Manhattan private school student Balthazar finds himself taking advantage of the cultural tragedy of mass shootings for validation and attention he’s missing from his absent mother. When his efforts to impress his activist crush fail, Balthazar concocts a demented plan.

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Void of any real feelings, his apathetic worldview is fueled by pills, money, and online dopamine hits. When a scholarship classmate, Eleanor, rejects his creepy attempts to connect, Balthazar decides to make a move so dangerous that he couldn’t possibly understand the ramifications. Balthazar’s over-the-top TikTok videos pique the interest of a random commenter. To gain her affections, he sets out to “save a potential school shooter,” or so he claims. But really he’s playing God.

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Enter Solomon, the face behind the computer screen. Solomon exists in the shadow of his pyramid-scheming, supplement-hawking father. Catfished by Balthazar, Solomon decides that having a friend is more important than harming a genuine connection. As the tension ramps up between bravado and action, the relationship proves deadly on every level.

Asa Butterfield is haunting as Solomon. At first glance, he seems to embody the red pill manosphere, toxic masculinity persona to the nth degree. But the lack of control and loneliness manifest in people-pleasing and big talk to hide feelings of failure and to please his scumbag father.

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Jaeden Martell delivers a breathtaking performance in the titular role. His ability to move through the spectrum of emotions within the same beat is chilling. Balthazar is a manipulative asshole, often manic. His tunnel vision energy is very ADHD presenting, and yet to discern between diagnosis and entitlement is all shades of grey. Martell is a chameleon. It is an award-worthy turn, and I hope people are paying attention.

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Butterfield and Martell are an exhilarating pair. Emotionally, they are the same person.  Watching them bounce off one another is a masterclass. Both characters are part victim and part product of their environment. The give and take is dazzling.

The score is unforgettable, moving between upbeat after-school special (this is a compliment), death metal riffs, and quieter, deeply sinister pieces. The handheld camerawork is incredibly immersive. It makes you an unwitting accomplice to every moment.

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Boyson and Ricky Camilleri‘s script is a freight train. Tackling AI, influencer and incel culture, political theatre, poverty, gun regulation, and media culpability, Our Hero, Balthazar, will permanently imprint on your brain. Between cinephiles, activists, and traumatized generations of kids and adukts, the film will undoubtedly trigger every feeling imaginable. It’s an impressive feat of storytelling and a candid look at our reality. Our Hero, Balthazar, is a prime example of how essential the art form of filmmaking is.

Our Hero, Balthazar Trailer:

Rotten Tomatoes Certified-Fresh Pitch-Black Comedy Available for Digital Rental and Purchase August 11, 2026 from WG Pictures and Radial Entertainment

The film stars Martell, Butterfield, Chris Bauer (“The Wire,” “True Blood”), Jennifer Ehle (“Pride and Prejudice,” 
Saint Maud), Anna Baryshnikov (“Dickinson,” Love Lies Bleeding), Noah Centineo (To All the Boys I’ve Loved Before, “The Recruit”), Becky Ann Baker (“Girls,” “Freaks and Geeks”), Avan Jogia (“Twisted,” “56 Days”) and Pippa Knowles.
Runtime: 96 Minutes | Rated R

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BACKSTAGE MADNESS (Fantasia 202) Creative chaos

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BACKSTAGE MADNESS

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Filmmaker Amanbek Azhymat‘s Fantasia 2026 dark comedy BACKSTAGE MADNESS is every writer’s intrusive thoughts come true. Hilarious and bold from the moment the film opens, the story begins with a screenwriter overwhelmed by his creations who seem to haunt and judge him. A slimy producer concocts a wacky scheme, promising big bucks in return. Each film investor must be featured in the script as they are funding the film. But with every dollar comes another genre switch, resulting in a hybrid script that has no right being this entertaining.

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This pay-for-play approach raises the stakes for both our screenwriter and the audience. Anything is fair game as we go along on this wild ride. We are treated to an insanely creative and over-the-top plot rollout in real time. It shouldn’t work, but it absolutely does.

This fly by the seat of your pants approach leaves you salivating for the next scene. The meta script follows a crime boss, his deadbeat clients, his morally conscious thugs, and the one man who alludes capture due to mistaken identity and a murder plot gone awry. Each cast member plays multiple roles, and they nail them.

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Performances are hysterical across the board. The practical FX and make-up are fantastic. Discerning meta script from actual script is fun and shockingly uncomplicated. Azhymat and Janysh Dadabaev‘s editing is outstanding. Azhymat flips between scripts with typewriting transition moments, introducing the next act of the meta script, his former characters cheering him on when needed.

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Dynamic camerawork by Bekzat Turarbek Uulu enhances the comedy and mirrors the stylized genre of each scene. The score does the same, changing up to match any particular scene’s vibe. I equate the energy to something like Lock, Stock and Two Smoking Barrels.

BACKSTAGE MADNESS is a direct dig at the profit side of Hollywood, but moreover, it is an ode to the physical and emotional toll of creativity. Within the brilliant chaos, it honors the magnitude of power a writer truly possesses. BACKSTAGE MADNESS is never-ending fun.

Official selection

Tallinn Black Nights Film Festival 2025
Fantaspoa Film Festival 2026

Director

Amanbek Azhymat

Producer

Asel Zhuraeva

Writer

Amanbek Azhymat

Cast

Adyl Bolorbek, Kural Chokoev, Eldiyar Jarashev, Erbol Ruslanov, Bolot Tileberdiev

Cinematographer

Bekzat Turatbek uulu

Sound Designer

Alymbek Tursunbaev

Composer

Alymbek Tursunbaev

Editor

Amanbek Azhymat, Zhanysh Dadabae

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GODHEAD (Fantasia 2026) A shocking sophomore feature

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GODHEAD

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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.

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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.

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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.

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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.

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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

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Tight Lettuce (Fantasia 2026) If you don’t laugh, you’ll cry.

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Tight Lettuce

tight lettuce poster fantasia 2026

Based on a true story, Harrison Houde‘s Fantasia 2026 drama “Tight Lettuce” delves into generational trauma and the pitfalls of enabling with the best of intentions. Joel’s unwavering faith in his user father becomes an overwhelming barrier to growing as an individual. Joel hopes to record his father’s recovery from a 28-year heroin and fentanyl addiction. Instead, he captures the chaotic essence of a great man trapped in a seemingly endless cycle.

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Dakota Daulby, who co-writes the screenplay with Houde, wears his heart on his sleeve through the constant disappointment. It is a beautifully vulnerable portrayal of a toxic, unconditional love. Emmanuel Bilodeau is an absolute freight train. It is a complex performance, as Bodo is self-aware and yet remains an addict in an active spiral. Between his highs and manic withdrawal-induced lows, Bilodeau delivers a tour de force. Their chemistry is the stuff of dreams.

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Tight Lettuce highlights the ripple effects of drugs and the importance of separating life plans from the anchor of an addicted loved one. The credits feature real footage of Joel and Bodo. This choice makes the film more impactful in every way. This dark comedy captures the heart with infectious energy. The statistical likelihood that a loved one (only a few degrees separated) is struggling as we speak makes it a must-see. The reality of “If you don’t laugh, you’ll cry” screams with authenticity.

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Fantasia 2026 arrives to fright and delight.

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Fantasia 2026.

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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:

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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

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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

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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.

Born of Woman 2026 Fantasia

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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TENDER (DWF LA 2026) The long and clever con

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TENDER

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Filmmaker Adam Hoelzel delivers a twisted directorial debut at DWF LA 2026 Closing Night film. In TENDER, after coming up with a non-starter scheme to leave his wife and start fresh with his mistress, both Mick and Billie find a way out of their mess after stumbling upon a gold brick in the walls of their house. Billie quietly begins to search the house for more. When they hit the jackpot, it comes with some complicated terms.

Each bar has a UV mark, so selling it outright is not an option. Finding legal loopholes and roping in those around is a carefully choreographed dance between two people who now supposedly hate each other. Paranoia and crossed wires force Mick and Billie to adapt. But an additional player reframes their complex plans.

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Jesse Garcia plays Mick with an overconfident air, perfect for the plan the audience knows is insane. Jess Weixler, who plays Billie and also serves as the film’s narrator, is magnificent. She steals every moment on screen with her take-no-shit attitude. I fell in love with Weixler in Chained For Life. Her chameleon abilities are a director’s dream.

Phillip J. McLaughlin‘s editing absolutely delights in establishing the passage of time and the initial plot point in the film’s opening. But, like the entirety of Tender, get ready for a long con. Heolzel sells us the illusion hook, line, and sinker. Tender is a complex cat-and-mouse game. If you can follow the truth, you’re quicker than I am. Well played to everyone involved. I’ve been had.

WRITER/DIR: Adam Hoelzel
PRODS: Sofia Rovaletti, Sonja O’Hara, Farrell Ingle, Theo Bucksey, Michael K. Dwyer, Corey Moosa, Roy Hsu, Grayson Hay
CAST: Jess Weixler, Jesse Garcia, David Koechner, Shakira Barrera, Sonja O’Hara, Robert Longstreet,
Mark St. Cyr, Stephen Ellis

After inheriting a modest house in a dying town, Billie and Mick believe they’ve finally found stability, until crushing debt, old resentments, and a shocking discovery buried within their walls threaten to tear them apart. As the couple is forced into a dangerous alliance to protect their future, Tender becomes a darkly intimate portrait of marriage under pressure, where love, money, and survival blur into something unrecognizable.

Tender DWF LA site

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THE REVERB (DWF LA 2026) Y/A mystery pilot reels you in.

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THE REVERB

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In the DWF LA 2026 series pilot, The Reverb, young college student Cassie unexpectedly reunites with her estranged best friend and famous indie band member when Aaron shows up on her doorstep late one night. Waking up to discover Aaron has been connected to the death of the band’s lead singer, Cassie must decide whether to trust her friend.

Filmmaking sisters Jordan and Janie Ruttert have set the stage for mystery with a young cast and drips of information. The Reverb pilot definitely left me wanting more. It is a solid teaser for a more fleshed-out story. It’s giving Pretty Little Liars vibes.

Mari Blake gives Cassie authentic ferocity that plays more like a documentary than a performance. You can see each beat transform her words and actions. She is simply spectacular. The Reverb could definitely benefit from a bigger budget, but Mari Blake is the Ruttert sisters’ golden ticket.

The Reverb

NORTH AMERICAN Premiere | USA, 2026, 30 min.
SERIES BLK 9 > SAT JUN 27 @ 4PM

The Reverb Trailer:

WRITER: Jordan Ruttert
DIRS: Jordan Ruttert & Janie Ruttert
PRODS: Jordan Ruttert, Janie Ruttert, Stephanie Ruttert, Doron Ruttert
CAST: Mari Blake, Matthew Assheton, Sofie Zamchick, Fia Thomson, Niya Je, Joseph Stewart, Mujeeb Rufai, Caroline Rutschilling, Dani Dorn, Noah Frankenfield

THE REVERB is a Y/A murder mystery that centers around the turbulent friendship, or rather ex-friendship, between Cassie, a young college student, and Aaron Blake, lead guitarist for the renowned indie rock band Entourage. Trouble follows Cassie home when Aaron mysteriously appears at her front door seeking refuge for the night. When she learns that Aaron is rumored to be linked to the murder of his bandmate and lead singer of Entourage, Skye Thomas, Cassie must decide whether to believe Aaron, despite their many years apart, or fight to uncover the truth.

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COIN (DWF LA 2026) More than a crypto scam comedy.

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COIN

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Filmmaker John Brownell tells a story of risk, reward, real estate, and revenge in DWF LA 2026 feature COIN. In an effort to save their local park, two slackers, Billy and Ricky, set up a fake fundraising campaign under a local mayor and developer running for governor of California. When donations appear overnight, they think they’re rich and decide to reinvest the money into Billy’s newly formed cryptocurrency fund.

Ricky and Billy’s friend Audrey must break the news that their scheme is entirely illegal. When a political henchman comes looking for the funds, all hell breaks loose.

The authenticity of how these two approach crypto is applause-worthy. You will find yourself both nodding and shaking your head as they navigate a world that is based mostly on vibes.

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Madison West is our voice of reason as Audrey. She is a grounding presence. The camera loves her. Danny Breslin gives Billy an overconfidence that perfectly suits his character’s ambitions. Tyler Picchi is Ricky. Picchi nicely balances fearlessness and optimism. West, Breslin, and Picchi have a solid chemistry together.

The entire script is much more than an indictment of crypto and corruption. It plays into the massive ignorance of the average voter, but specifically, to an overconfident generation raised on the internet. Brownell leans into the technology gap but cleverly illustrates the impact of influencers and the internet as a true learning tool, without it getting preachy for those who couldn’t care less about crypto.

Brownell skillfully tackles the dark side of politics and the very real power imbalance we are currently experiencing in this wonky timeline. COIN is undeniably entertaining. I look forward to seeing what comes next from Brownell.

Coin Teaser Trailer:

WRITER/DIR: John Brownell

PRODS: John Brownell, Blake Johnson

CAST: Tyler Picchi, Danny Breslin, Madison West, Roy Abramsohn, Sharlene Radlein

Two friends misappropriate campaign funds to launch a cryptocurrency in a half-baked plan to save a local park, setting a political hitman after them.

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