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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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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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The Sun Never Sets (2026): Authentically messy love

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The Sun Never Sets

The sun never sets poster

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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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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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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Stand Clear ‘ the Closing Doors (Tribeca 2026) Comedy of Humanity and Errors

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Stand Clear ‘ the Closing Doors

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Stacey Sargeant‘s Tribeca 2026 short film Stand Clear ‘ the Closing Doors is an absolutely genius illustration of intrusive thoughts. This is a quintessential New York story in every single way.

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It takes guts to thrive, hell even exist, in the city. We’ve all pushed past people to get off a train, moved cars because of a smell, and cried on the train at any given hour of the day. While Stand Clear ‘ the Closing Doors is a universal snapshot of public transportation, it is also one of humanity and connection found every minute in the melting pot of culture and stories in the greatest city in the world.

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Thoughtfully shot by Timothy Naylor, if you are a local, you feel like you’re placed right next to Sargeant. She has managed to produce a living, breathing sense memory on film. Simultaneously funny, infuriating, and deeply moving, I cannot wait to see more from her.


Starring STACEY SARGEANT, GRACE REX, and CLAUDIA LOGAN
Directed by STACEY SARGEANT
Produced by STACEY SARGEANT and BECKY MORRISON
Executive Producers JEREMY KATZ, STACEY SARGEANT, and VERONA SARGEANT
Creative Producers ESTHER DE ROTHSCHILD and ADEPERO ODUYE
Cinematography TIMOTHY NAYLOR
Edited by JONATHAN ROGERS

SYNOPSIS

When a woman makes a simple request of a fellow NYC subway passenger, an everyday moment turns into a bizarre battle for space, peace, and dignity.

Comedy, Drama, New York, Women | 7 minutes | Not Rated | 2026 | English | USA

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‘Know Me’ (Slamdance 2025 capsule review) Inspired by true events, this meditation on grief and the power of the media takes a human approach.

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slamdance logoKNOW ME

know-me-stilll-27In 2012, Rudy Eugene became known as “The Miami Zombie” when he attacked a homeless man because of bath salts. Inspired by the real-life incident, filmmaker Edson Jean‘s film KNOW ME dramatizes the case, bringing much-needed humanity to a story most of us think we know.

The film follows younger brother Kenson, who deals with the immediate aftermath and misinformation spreading nationally and throughout his tight-knit Haitian community. While Jean changes the main character’s name to Jimmy Hilaire, the story comes from Kenson’s perspective as he attempts to arrange funeral services and fight the false narratives.

Know-MeJean utilizes black-and-white flashbacks to give us insight into who Jimmy was. The specific choice not to replay the video from the incident leaves a powerfully subconscious impact. The commentary on the media is as relevant today as ever. How does one man preserve the legacy raging against an entire industry? Separately, we watch family matriarch Pauline’s nuance journey to closure. A poignant moment between her and the man Jimmy attacked delivers a quiet beauty.

Performances are exceptional. Donald Paul gives Jimmy such depth in his short time on screen. Carole Demesmin brings fierceness to Pauline. Her chemistry with the entire cast is applauseworthy. Jean not only takes on several behind-the-camera roles but also stars as Kenson. His raw portrayal pierces your heart. It is a wow.

know me jimmyTackling religion, judgment, and racism, KNOW ME is a meditation on grief. The script calls out hypocrisy and digs into underlying hurt within a trauma response. It is an undeniably strong sophomore feature.

KNOW ME Teaser Trailer:

Based on a true story — It’s May 2012, Jimmy Hilaire attacked a homeless man on the MacArthur Causeway in Miami before being killed by police. As sensationalized details of the attack leak to the press, the “Miami Zombie” news story quickly gains ground. Across town, Jimmy’s brother, Kenson, is unexpectedly thrust into a whirlwind when images of his brother are suddenly plastered across major media outlets. Grief-stricken and profoundly shaken, Kenson must suddenly dive into preparing his brother’s funeral, discovering that to preserve Jimmy’s memory he must first combat seductive lies told by powerful media outlets and local Haitian church leaders. Struggling to clear his brother’s name and secure a proper burial, Kenson must also reconcile his memories of his brother with the violent, harrowing details surrounding his death.

KNOW ME Showings – select to order tickets:
  • Director:
    Edson Jean
  • Screenwriter:
    Edson Jean, Marckenson Charles
  • Producer:
    Ronald Baez, Kevin Ondarza
  • Cast:
    Edson Jean, Shein Mompremier, Donald Paul, Carole Arty, Richardson Chery
For more Slamcdance coverage, click here!

 

Tribeca Film Festival 2019 Podcast Interview: Jeremy Gardner, Christian Stella, and Brea Grant share all the gory and gorgeous details of ‘AFTER MIDNIGHT’ (Something Else).

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AFTER MIDNIGHT (Something Else) Podcast

AFTER MIDNIGHT (formerly titled Something Else) was one of the most unique selections in this year’s festival. Both a monster movie and a love story, the film’s deliberate structure is a standout all on its own. The writing is fresh and funny and the use of light makes it a joy to watch. There are brilliantly theatrical moments. I believe this film would actually translate incredibly well onstage! When you see it, you’ll know what I mean. It’s a complete compliment. I sat down with co-directors Christian Stella and Jeremy Gardner (who also stars and wrote the script) and star Brea Grant to chat all things AFTER MIDNIGHT. How did the script come about? What in the world were they thinking with certain choices? What did Brea think the first time she read the script?  We talk favorite movie monsters, and how the filmmakers of one of my favorite films The Endless, Justin Benson and Aaron Moorhead, got on board. You can read my full review of AFTER MIDNIGHT here, but give a listen to the awesome time we all had together. Be warned, when I walked into the room, Christian, Jeremy, and Brea had all been in the super cool bathroom of our interview room at The Roxy Hotel taking a photo, and I’m disappointed in myself for not getting in on the selfie action on my way out the door. Also, when you hear us refer/talk to “Ted”, we’re actually talking to We Are Still Here and Mohawk filmmaker Ted Geoghegan who just so happened to be in our presence. No big deal. Anyhow, without further ado, here is our podcast talking all things Tribeca, monsters, and AFTER MIDNIGHT.

ABOUT THE DIRECTOR(S)

Jeremy Gardner and Christian Stella are the filmmakers behind the indie zombie film The Battery and survival comedy Tex Montana Will Survive! Lifelong friends, both directors were born and raised in Florida.

FILM INFO
  • Section:
    Midnight
  • Year:
    2019
  • Length:
    83 minutes
  • Language:
    English
  • Country:
    USA
  • Premiere:
    World
  • Connect:
    Facebook, Twitter, Instagram
CAST & CREDITS
  • Director:
    Jeremy Gardner and Christian Stella
  • Producer:
    David Lawson Jr., Justin Benson, Aaron Moorhead, Arvind Harinath
  • Screenwriter:
    Jeremy Gardner
  • Cinematographer:
    Christian Stella
  • Editor:
    Christian Stella and Jeremy Gardner
  • Executive Producer:
    Venu Kunnappilly
  • Cast:
    Jeremy Gardner. Brea Grant, Henry Zebrowski, Justin Benson, Ashley Song, Nicola Masciotra

DOC NYC review: ‘We Are Not Done Yet’ shines a spotlight on PTSD

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HBO’s powerful new documentary short WE ARE NOT DONE YET, airing November 8thand produced by actor Jeffrey Wright (HBO’s Westworld), follows the stories of ten U.S. veterans striving to combat their traumatic military histories through art, poetry and performance. At a workshop led by poet Seema Reza and Community Building Art Works, they share their fears, vulnerabilities and victories, using the written word to heal, bond, encourage and empower. Their work culminates in a live performance at Washington D.C.’s Lansburgh Theater under the direction of Wright. As much of an activist as he is an actor, Wright produced the short and has been heavily involved with veteran organizations for years. He was so inspired by the group’s process and motivation during the workshop that he knew he had to get a camera crew inside and help share their stories.

There is something so cathartic about standing onstage and bearing one’s soul. When it’s your own written word it’s on another level. When the words are true, it’s the most powerful of all. WE ARE NOT DONE YET gives a literal voice to a group of veterans living with PTSD. They have used performance art to share their stories, lives, and emotions with an audience now far beyond the Lansburgh Theater. HBO has given us a gift in this short. It has opened the door for others to speak,  hope, and feel connected in a new way. Watching these fine people is nothing short of breathtaking. I’m not sure you can sit back and hold back the tears as a human being as you experience their trauma through their writing. Not of a moment of this film feels exploitative from an observer with zero military background. I’m hoping it reads the same for those who might believe they are alone. WE ARE NOT DONE YET aired this evening and will be available on HBO Now and HBO Go. This is important filmmaking. The message is clear. We cannot ignore the trauma, we must embrace it and do better for all our veterans.

Review: ‘Don’t Go’ is mysterious and visually delicious.

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PRESENTS

OPENS IN THEATERS TODAY!

Synopsis:
Somewhere between dreams and reality lies a terrifying hidden truth… Reeling from the shock of their young daughter’s death, Ben (Stephen Dorff) and Hazel (Melissa George) attempt to restart their lives in a picturesque seaside village. But when the girl begins appearing to Ben in a haunting recurring dream, he becomes convinced that she is attempting to make contact from beyond the grave—and that his nightmare may hold the key to bringing her back to life. As Hazel begins to fear for her husband’s sanity, they are each drawn into a mystery far beyond their understanding. This tantalizing psychological puzzle plumbs the depths of grief and guilt as it unravels the dark secret at its center.

Don’t Go boasts so visually striking sequences. Using overly saturated light and tones to express memory or dream states, makes it a feast for the eyes. The reoccurring imagery is clever and precise. The story is one of a lost marriage exacerbated by the sudden death of this couple’s young daughter. When Dorff’s character convinces himself that he can bring her back from the beyond, his buried guilt drives him, and everyone around him to their breaking point. With great performances from stars Stephen Dorff, Melissa George, and Aoibhinn McGinnity Don’t Go still remained a mystery to me after watching and rewatching the final 20 minutes. I’m not quite sure what was real but if that was the intent, then plot well laid out. The simple fact that I’m still attempting to untangle it says a lot about Ronan Blaney‘s writing. You can catch Don’t Go In theaters today. Check out the trailer below!

A FILM BY DAVID GLEESON

WRITTEN BY:
Ronan Blaney (The Back of Beyond, Love Bites)

STARRING:
Stephen Dorff (“True Detective”, Blade, Somewhere, Public Enemies)
Melissa George (“Grey’s Anatomy”, “The Good Wife,” “In Treatment”)
Aoibhinn McGinnity (“Quarry”, Love/Hate)
Simon Delaney (The Conjuring 2, Delivery Man)
Charlotte Bradley (The Boys and Girl from County Clare, The Gift)
Luke Griffin (Band of Brothers, Pure Mule)

Fantasia International Film Festival review: ‘The Night Eats The World’ breathes new life into the zombie genre.

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The morning after a party, a young man wakes up to find Paris invaded by zombies.

The Night Eats The World is all about isolation. Sam is alone in his ex’s apartment, walls splattered with blood, and the other floors are not much better. Realizing the outside is even less safe, he begins to use his wits by gathering what he can find, little by little, staying organized but perhaps not sane. Actor Anders Danielsen Lie is in every single scene of the film. His performance is so engrossing that I almost missed his complete physical transformation along the way. He must remain as calm as possible, which is pretty difficult considering the circumstances. Director Dominique Rocher has given us quite the gem here. The Night Eats the World easily sets itself apart from the average zombie film. The film delves into the complexity of human intimacy. This is explored through a relationship with an undead individual trapped inside an elevator (played magnificently by Denis Lavant), an encounter with a fellow survivor, and a cat. An added element of interest that propels the plot is the fact that Sam is a musician. This becomes both an advantage and a misstep along the way. We’ve all watched The Walking Dead for years now but off the top of my head, I’m not sure I would be as methodic in my solitary survival as Sam. While we don’t get any information about the outbreak specifically, it never stopped me from enjoying the film, rooting for Sam to stay alive. Sometimes you don’t need it all spelled out for you, sometimes great storytelling is more than enough.

The Night Eats The World made is Canadian Premiere at this year’s Fantasia International Film festival. The 2018 fest came to a close last night, but we’ll keep you updated on the release dates. As for The Night Eats The World, you can catch it in theaters now and on VOD platforms like Amazon, Google Play, and YouTube.