There is such a rich tapestry of American folklore to chill your bones if you’re inclined to dig into our country’s history, and let’s admit it, you wouldn’t be reading this article if you didn’t have a love for horror and the uncanny. Perhaps the most mysterious and disturbing anecdote is the disappearance of 115 English settlers from the Roanoke colony, off the coast of North Carolina. In 1584, the leader of this colony disembarked on a journey to gather supplies. Upon his return, three years later, not a single soul was to be found. A single word, “Croatoan,” was found carved into a nearby wooden post. Not one single body was ever found, and the disappearance remains one of the greatest mysteries of all time. Countless films have mined this story for years to terrify audiences. Now, a new entry into the CROATOAN cannon hits screens this July, with “The Town That Takes,” a tightly paced, slow-burn action/horror hybrid that doesn’t work all the time, but when it does, it sizzles and shows real promise for actor, writer, and producer Britt Bankhead. Let’s take a closer look below at what works and what doesn’t.

SYNOPSIS:

After his son vanishes in a remote town, a desperate father and two detectives, a seasoned veteran and a green rookie, must uncover the terrifying legend of CROATOAN before another child is taken.

WHAT BANKHEAD DOES RIGHT

Let’s start with the pacing; Bankhead gets it right immediately, and to be honest, it’s the film's strongest feature. Starting slowly and deliberately with quiet scenes filled with ominous dread, the movie confidently sets its tone and builds on that feeling throughout the film’s first half. You’re purposefully kept off kilter, mimicking the unease and confusion of Detectives O’Shea (Miles Mussenden) and St. Clair (Grace Patterson). As the bodies start to pile up and the stakes escalate dramatically, Bankhead does something inspired; he shifts the tone from a dark, disturbing horror film drenched in shadow and sinister vibes into a full-bore action film with car chases, practical stunts, and a jaded antihero protagonist (Bankhead) that would give Jason Statham a run for his money.

It’s this change in tone that sets the movie apart from similar folklore-driven indies and reminds us of David Prior’s “The Empty Man” from 2020. That film is superior in many ways to “The Town That Takes.” Still, that shift in tone works wonders, putting the audience on their heels and injecting a shot of adrenaline that thoroughly entertains whilst losing absolutely none of the dread built in the first half. You don’t realize the shift until you're well into a surprisingly well-choreographed car chase. From there, you can expect gunfights, shapeshifting, bloodshed, and more gunfights. All admittedly low-budget, but extremely well-staged and executed. What Bankhead can do with a small budget is remarkable. It will be interesting to see what’s on the horizon for him in the future with a larger budget and maybe one less hat to wear. We respect the triple threat of actor/producer/director, but there comes a point with any trifecta where one steals shamelessly from the other, leaving a project a bit “less than” had there been fewer hats to wear.

WHAT NEEDED MORE WORK OR EVEN A COMPLETE CUT

Folklore is a marvelous sandbox to play in, but it’s unforgiving if you don’t build the foundation enough for an audience. Bankhead uses the Roanoke mystery as a SparkNotes shortcut to get us halfway to our third-act reveal, but it comes up short. While the terror and dread are sufficiently present throughout the film, the unsettling aspect of the mythology is all broad strokes and few specifics. It’s not enough to take you out of the film, but if the screenplay had spent a little more time fleshing out the “why” and “how” further, the final result would have been more satisfying. As is, it’s perfectly serviceable, but that’s probably not the adjective the filmmaker was going for. There’s also a flashback for Mussenden’s character that should have been cut altogether. It adds nothing to the film and only shows off its jankiest digital effects

FINAL THOUGHTS

“The Town That Takes” is a surprising little gem of a film. Its stitching shows from time to time, but it knows what it is, leans into it, and delights in taking some radical shifts throughout its brisk runtime. Like “The Void” from 2016, this is a fun, folklore-driven frightfest that isn’t afraid to take chances. It takes its time developing mood and character, never at the expense of derailing the plot or slowing the action down to a crawl, quite the opposite actually. We highly recommend that audiences seek out this movie, especially anyone interested in filmmaking. What Bankhead does here, with obvious budget constraints, is inspiring—more of this in Indie Horror, please. 

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J.F. Dubeau and Amy Frost are cooking up something special these days, at least in the pages of their fantastic new novel, “A Dash of Demon.” Taking the characters and story from their popular Achewillow Podcast Series and bringing that bizarre town and its lovable misfits to a horror-literature-loving audience craving just the kind of magical-realism experience these two so expertly deliver, you won’t find a cozier place to cast a spell.

We reached out to these two superstars to learn more about the new novel, how they got into horror in the first place, the inspirations behind this town, the characters, and the marvelous mash-up of sweet treats and demonic danger. Check out our interview below and get excited to discover a new favorite for small-town wonderful weirdness.

Take us through your horror origin story. When did you realize this was the genre for you?

J.F. Dubeau: I started consuming horror when I was very young, cutting my teeth on Stephen King’s “Firestarter” as a pre-teen. I think a family member, a cousin or something, had given it to me because I showed interest in superheroes. From there, I moved on to “The Dark Side,” “Tommyknockers,” etc. So, horror has been with me for a very long time. As far as creating horror, that’s a more complicated story. As a teen, I was a bit of a coward when it came to horror movies, at least until I discovered the “Alien” franchise. The first two movies had me obsessed. I’d draw xenomorphs incessantly and buy any toy I could get my hands on. I still have the original Aliens board game.

From that point on, I kind of kept one foot in the genre until I started writing. While my first published book was a science fiction novel, the second turned out to be a horror story. It found a much wider audience, which led me to start going to literary conventions like StokerCon and NecronomiCon. That’s where I fell in love with the community. Horror creators and fans are some of the most empathetic, chill people around. Which makes sense. If your whole deal is to play with people’s emotions - fear, disgust, loss, etc. - you have to display a heightened sense of compassion and understanding. Once I knew who my peers in the community were, there was really no turning back.

Amy Frost: I am a certified, self-professed, card-carrying weenie. I do not like jump scares, I absolutely cannot handle gore, and I have a deep empathy streak that makes watching other people suffer almost impossible to handle. However, I adore “Halloween.” My childhood was filled with over-the-top handmade costumes crafted by my mother. I love the spooky and the eerie. I adore the darkly beautiful. Anything that mixes weird and whimsy in with the darkness like cream in a cup of coffee. Spending my formative days a stone’s throw from Salem, Mass also had a pretty profound effect. Exploring the line between the historical truths and the fantasy and folklore that grew out of it.

What motivated the decision to turn a podcast into a novel? What changes were needed to transition from a format where you have multiple episodes to unravel a story to a novel where the pacing needs to race?

JF: There’s a lot that brought me to wanting “Achewillow” to make the jump onto the page. A minuscule part of it is to monetize the story we’d already created, but mostly it was to have something tangible and tactile that went beyond merch. I’m a novelist at heart, and being able to bring “Achewillow” to a fresh audience through the medium that I love was bound to happen at some point. No small part of that was also to drag Amy into my world of horror literature and complete her journey to the dark side.

Not too much changed between the podcast and the novel. We were happy with large portions of the prose and most of the character arcs and stories. The only things that needed smoothing out were transitions between episodes, which became chapters, and the removal of a bit of the repetition that comes with episodic content. In a book, we don’t have to remind the audience of what happened ten weeks ago. We did take the opportunity to polish some of the clumsier details and correct errors in the podcast.

Amy: I appreciate that it’s deeply ironic, but I’m actually not great at absorbing audio media. I love audiobooks, but they just sort of wash over me in a way that reading a printed book doesn’t. So, having the opportunity to share our story with other people like me has been really exciting. I love how much of a hand we had in the book's physical design. Achewillow is a world full of artifacts, and it is especially satisfying that we were able to make the book an artifact in its own right.

As J.F. said, it was mostly a condensing of the transitions between chapters that was changed, but also, it’s been a long seven years since we started Achewillow. The world and the characters have evolved. It’s been great to have the opportunity to go back and smooth out some of the earlier parts of the story when we were less sure of the direction and still figuring out how to tell this weird little story.

“A Dash of Demon” gives off the best Gilmore Girls vibes through a Necronomicon mash-up we’ve ever experienced. We didn’t know we needed this in our lives, but now we’re addicted. What inspirations did you draw from to create this cozy, horrific world?

JF: Both Amy and I love weird stuff. Strange settings with bizarre characters. We wanted Achewillow to be a place people would want to visit while still hiding monsters in its shadows. “Twin Peaks” was a major inspiration for the town's vibe. A place where everyone knows each other, where everyone has secrets while also respecting those secrets to a point. While more grounded, we borrowed a little from “Gravity Falls,” mostly in how eclectic the population and the phenomena in the village are. The rest is pulled from the simmering melting pot of references and experiences that bubbles in the back of my mind at all times.

Amy: Vianne from “Chocolat” and the aunts from “Practical Magic” were big influences on our approach to the magic and the horror in this world. I’m a huge fan of magical realism and the weird stuff that boils just under the surface. Living in New England, the land of Lovecraft, it’s just sort of a vibe that is everywhere, and I love being able to push that to the extreme. Every New England town has its local color and strange characters, and getting to go wild with what’s actually behind them and push them into the realm of unreality is always exciting.

Tell us how much fun it must have been to create the fascinating and cheeky-as-hell (literally) spell recipes for the novel. Where did you even begin?

JF: For my part, when I need a recipe, I’ll either research it a little and figure out something from my own experience, making sure it includes ingredients with the correct folkloric properties, or I’ll turn to Amy for her input. Usually, I ask for her expertise when it comes to important recipes. I’ll ask for ingredients with specific effects and history, or for entire recipes that fit the particular function. Sometimes we’ll have a bit of back-and-forth on how to make the recipe more distinctive and give it that particular DuFour twist.

Amy: I have shelves full of cookbooks and witchy references. It’s really fun mashing those together in a conceptual way. I try to balance traditional medicinal properties with the more esoteric whenever I can. Especially in the early days of Achewillow, I like the question of whether the magic is real. Now, when it came to actually making these recipes work in the real world, it was significantly more challenging. Some of the ones that leaned more heavily into their magical ingredients have proven more difficult to balance as real-world flavors. But I think we managed to find a good spot in the middle.

What’s next for you two?

JF: Right now, more “Achewillow.” We’re finishing Season 9 of the podcast, with our eyes on Seasons 10 and 11. I’m also working with my publisher on preparing the third and final book of the “A God in the Shed” trilogy for publication. I’d like to find a home for a couple of other manuscripts I have lying around (one in particular is a retelling of “The Adventures of Tom Sawyer” with Lovecraftian elements, told from the point of view of Becky Thatcher, if she came from a family of witches). There’s also another, completely different podcast project we’ve been playing around with for the last few years. It’s a little ambitious, but hopefully we get to it at some point.

Amy: J.F. and I keep a lengthy document of project ideas that we add to when inspiration strikes. It’s freeing to have a best friend and collaborator who looks at your dumb ideas and comes up with ways to run with them. Working on Achewillow has taught us a lot, and there are several other audio projects that we feel a little more equipped to tackle now. I’ve also been dipping my toes into some horror short story writing. Nothing I’m ready to share with the world just yet, but it’s been a really enjoyable exercise.

You can purchase “A Dash of Demon” here.

You can follow J.F. Dubeau on Instagram here.

You can follow Amy Frost on Instagram here.

Check out the ACHEWILLOW Podcast here.

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The daunting feeling you get when visiting a theme park after dark seems to be a collective experience for many, especially for those who grew up in places like Orlando, Florida. Where Walt Disney World and Universal Studios are just a 30-minute drive away, and you could feel as if you were stepping into a place that can only be conjured up in a dream. There is something so eerie about being in a place that is normally bustling with people, only to become a desolate space of memories forgotten in time.

Directed by Kyle Cooper and from the creative mind of Zachary Donohue, “The Unknowable: Darkland” explores this idea of a now-abandoned amusement park (Darkland); one that has a past shrouded in mystery, with even darker secrets that lie beneath the rubble. This mini-series features 8 episodes, with each running about 23-25 minutes. With its short run-time, The Unknowable: Darkland was able to encompass an astonishing amount of storytelling without it feeling too rushed. We wanted to thank Jackalope Studio and SCREAMBOX for an advanced screening of the whole series for our review. “The Unknowable: Darkland” is currently available for purchase on Amazon Prime and YouTube TV, as well as streaming on SCREAMBOX.

Synopsis:

“Darkland was known for impeccable thrills, its mascot Pokey Possum, and the charismatic yet sadistic amusement park owner, Dexter Venito. The obscurity of this abandoned park drew in the likes of Tammy Gillis and her five friends on one fateful night. After the discovery of the five friends’ mutilated bodies within Darkland, there were still questions about Tammy’s whereabouts as she was still missing. Private Investigator Atticus Fairbanks is on the case, and the truths he unearths are more than anyone could have bargained for.”

Overall Thoughts and Highlights:

“The Unknowable: Darkland” follows the investigation into the disappearance of Tammy Gillis and the deaths of her five friends. Darkland was known for its sinister tendencies, as the amusement park owner, Dexter Venito, led his own cult named the “Dex Venetians.” His wife, Theodosia Birchwood, had also gone missing 25 years prior, and all signs pointed to Dexter. Tammy’s case was all too familiar for Detective Atticus, and a fire ignited inside of him. Could the disappearances of both of these women have any connection?

The story itself was told by a narrator, Sean Burgos, which was actually incredibly well done and gave a sense of a true-crime noir documentary. His tone and execution really made the storytelling flow smoothly while keeping you captivated throughout each episode. There was a pretty extensive cast, and each character played an important role, but ultimately this led to one of my only nitpicks for the series. That being, it seemed at times that the plot was lost in translation.

The main focus was on that of Tammy Gillis, but it seemed that Theodosia’s late disappearance (and somewhat resurrection?) outshone that. Without diminishing the fond likeness I have for The Unknowable: Darkland, this did become a bit difficult to follow at times. Collectively though, the cast did play convincing roles for the different acting being portrayed using this directorial style of following a true crime documentary. Think black-and-white murder mystery films with the detective smoking a cigarette at his desk, under the yellow-tinted light of his tabletop lamp.

The mixture of occult, creepy liminal imagery, and cosmic horror all worked so well together and made this one of the most unique pieces of media I have seen in quite some time. More than once I thought to myself, “What am I even watching right now?” but in a David Lynch kind of way. With that being said, his obscure works did have inspiration on this series, and we’re totally here for it. The fever-dreamlike imagery and clips were all in black and white and shot with no sound, aside from the score by Curse Mackey and Francis Roberts. With archival footage being used for a lot of these scenes, it really set this series up as being more of a time piece, matching that noir documentary style I mentioned earlier.

It’s no surprise that we’re suckers for a good film score, and I wanted to touch more on Curse Mackey and Francis Roberts input on this series. Mackey is known for his darkwave/post-punk sound, and his style of music fit the theme of Darkland exceptionally well. Few and far between do you see an original score done for a series as short as this. Normally, being a generic soundtrack comprised of other artists’ hits, it heightened the authenticity that they were aiming for. As for Roberts, his profession of composing falls under the category of “dungeonsynth” while also blending dark, fierce sounds. Bringing these two together was an absolute jackpot hit as both of their styles blend perfectly and can bounce off of each other.

The occult aspect was the right move for this series and matched the dark tone of the abandoned amusement park theming. Dexter Venito preached to the Dex Venetians that the rollercoaster in Darkland could bring “salvation” to them and grant eternal life. Three keys to the cosmos would be needed to complete this prophecy: the beast of eternal darkness, the chariot of oblivion, and most importantly, the ring of Ephesus. Each of these ideologies represented something: Theodosia acquiring the ring and keeping it for herself, the rollercoaster being the chariot of oblivion, and pokey possum as the beast of eternal darkness. It was all right there, and no one had noticed the correlation.

Dexter ultimately met his demise in the midst of leadership, and it was rumored that his body was frozen and kept away in the underground tunnels beneath the park. As for the ring of Ephesus, after Theodosia’s disappearance and a certain pact made by the Dex Venetians, the ring was back on the radar, especially by that of Ollie Knobs. In attempts to not replace, but resurrect Dexter, he would commit heinous crimes and wasn’t allowing anyone to get in his way.

The Birchwood family was also a big topic in this storyline; Theodosia being the main component in the unsettling history of Darkland. Her sequences in the series followed that dream-like vibe that we get throughout the whole watch. This did tend to take away from Tammy Gillis’ story to an extent, but I do believe the whole point of this series was to have something different for everyone. That being said, I actually quite enjoyed learning more about her family history and her relationship with Dexter.

It’s truly so refreshing to see independent filmmakers take the weird and wonderful route when it comes to creating their work. “The Unknowable: Darkland” speaks to those who have a fascination with the macabre and all the uncanny genres behind it. As previously mentioned, the David Lynch inspiration, this series also fondly reminded me of “American Horror Story: Freakshow.” The truth is, places like this really did exist some decades ago (and may even still exist today). A place for those who didn’t have somewhere to call their own, where they could showcase their unique talents or abnormalities.

As a whole, we really enjoyed the series and would totally recommend it. If you want something unique and original, you’ve got it right here! Once again, all eight episodes of “The Unknowable: Darkland” are streaming on SCREAMBOX and available for rent or purchase on Amazon Prime and YouTube TV.

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Period piece horror has a special place in our hearts, especially westerns. There’s something romantic and ominous about the open plain's breathtaking mystery. The thoroughly researched detail of time and place adds depth and richness to the text, easily transporting us wherever the author wants to take us and, by proxy, however they want to terrify us. There’s a new favorite of this subgenre here at Macabre Daily’s PAPER CUTS, and that’s none other than author extraordinaire C.S. Humble. His weird westerns are easily among our favorite works of fiction from the last twenty years. His mastery of multiple genres places his work alongside greats like McMurtry, Portis, Lansdale, and King. If you’ve yet to pick up one of Seth’s novels, be prepared to lose yourself to a whirlwind of emotion. Like the very best of the authors mentioned above, these books are epics in their own right and will wreck you emotionally, while simultaneously thrilling you page after page.

Seth joined us for what became one of our favorite chats to date. We dig into his horror origins as a child, the complicated beauty of Texas as both a place and a culture, subverting tired stereotypes to create exciting new representations, spoiler-free tidbits about the “Amid The Vastness of All Else” saga, and a ton more. What makes Seth so endlessly entertaining is his ability to dazzle with anecdotes that would fit easily around the Algonquin Round Table, while cracking us up with the affable charm that seems innate in almost every Texan we’ve ever met. Enjoy this introduction to a stellar author, and get used to it, as Seth will be returning later this summer to discuss his groundbreaking work further. For now, sit back, have a listen, and enjoy!

You can purchase all of C.S. Humble’s novels here.

You can follow C.S. Humble on Instagram here.

Be sure to check out cshumble.wordpress.com

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For those not already indoctrinated into the cult of Indonesian cinema, the name “Suzanna” may not ring a bell. Even though access to global cinema is as easy as ever, we often retreat to reruns of things we’ve seen before, sometimes afraid of investing what little free time we have into the unknown areas of entertainment, for fear that we waste that precious time on something that doesn’t resonate. It’s an understandable concern, and the good thing about the horror genre at large is that it’s mostly welcoming of films that aren’t in English, and can lay claim to saying some of the best examples of the genre come from places far away from the Western world. And Severin Films has consistently and righteously been doing the dark lord’s work by making Western audiences aware of the horrors that reside in the Eastern world, and their latest box set, “Suzanna: Empress of Darkness,” is easily one of the best of this year, possibly in Severin’s catalog!

WHAT’S IT ABOUT?

She’s known as “an icon” (Hi-Def Digest), “a cult legend” (Gizmodo), and “an inspiration for modern scream queens” (The Final Girls). Nearly two decades after her passing, she remains “Indonesia’s Ultimate Queen of Horror” (Screen Anarchy). In this 3 disc/6 film collection, discover Suzzanna for the very first time…or as you’ve never experienced her before: In “PACT WITH THE FORCES OF DARKNESS,” Suzzanna stars as a woman who returns from the dead for violent revenge, complete with a knockoff Freddy Krueger glove. Suzzanna portrays a regal reptile empress and her mortal twin sister in the wild “WHITE CROCODILE QUEEN.” “MALAM SATU SURO” and “KLIWON FRIDAY NIGHT” both star Suzzanna in her most famous role as the grisly ghost of feminist vengeance, Sundelbolong. And in the “fascinating” (Cinapse) Severin Films documentary “SUZZANNA: THE QUEEN OF BLACK MAGIC,” director David Gregory peels back every startling layer of her controversial life, death, and legacy. The 4 Soraya Productions have been scanned in 2K from their original camera negatives in English-friendly versions for the first time ever in America, with over 3 hours of Special Features that include revealing interviews, expert analysis, and Suzzanna’s final film, “GHOST AMBULANCE.”

“Suzanna: The Queen of Black Magic” (2025)

Alongside being a defender of film preservation, Severin co-founder David Gregory is one helluva documentary filmmaker. He’s graced us with documentaries about Bruce Lee Clones, Al Adamson, and, more recently, the Parisian Grand Guignol theater. So his pedigree with this kind of biopic/retrospective material speaks for itself, and “Suzanna: The Queen of Black Magic” is another triumphant feather in both Gregory and Severin’s caps. The focus here is the titular Suzanna, an Indonesian actor and celebrity whose work in Indonesian horror films garnered her the title of “Queen of Horror.” The film chronicles her life from birth to death, along with multiple marriages, retirements, and returns to acting, as well as a healthy dose of superstition that followed her personal and professional life.

The documentary clocks in at 88 minutes but is densely packed with interviews, including those with Suzanna’s surviving last husband and friends from her childhood. As always, Severin favors authenticity rather than simply focusing on academia’s perspective, and thus, many interviews are held with local Indonesian subject matter experts and filmmakers like Joko Anwar, who grew up on Suzanna’s films. Like many of the people who are the focus of these documentaries, Suzanna’s life wasn’t easy, and even across her career, she had to deal with infidelity, jealous partners, and awful rumors about her personal life. Her end of life is particularly tragic as it is preceded by a huge and violent falling out with her daughter and son-in-law. As always, Gregory is careful to celebrate without embellishment and to keep myths from overtaking the real legend at the center of the narrative. An outstanding introduction to Suzanna for those who are, and especially those who aren’t, familiar with her.

“Pact With The Forces of Darkness” (1991)

A lot of people, present company included, like to throw around the term “bonkers” when we don’t know how to fully articulate something we’ve seen. To call “Pact With the Forces of Darkness” bonkers would probably be doing it a disservice. This is easily one of the most unhinged and entertaining films ever made, with multiple scenes that will have confused and elated all at the same time. The premise is pretty common in Suzanna films as it deals heavily with spirits and revenge. In this case, Suzanna plays the wife of a rich guy who has a hit out for him, but the assassins don’t just kill him; they kill his entire family as well. Suzanna, the now deceased ex-wife, becomes possessed by a spirit that has a knife glove a la Freddy Krueger, and Suzanna systematically exacts her revenge on those who murdered her and her family in the most ludicrous of ways.

Moving aside the obvious lift from “A Nightmare on Elm Street,” this isn’t a ripoff of that, and it stands on its own in every single way. There are death scenes that are pulled right out of the franchise, but retooled to fit this idea and this world in such a wonderful way that you can’t help but be enamored by how audaciously it takes from the series, much like Italian ripoff films where they lift from so many sources that it becomes uniquely innovative. There’s a scene where someone turns into a bug or a crab; we can’t be sure, and another where a man gets latched onto by a series of arms that pull out of him and merge with a wall. And who can forget the other entire head that emerges from someone’s brain, if you needed another example. It’s fast, fun, and outrageous, exactly the kind of film you’ll be saying “What the fuck?” every 15 minutes.

“While Crocodile Queen” (1988)

Suzanna takes on a dual role as twin sisters in “White Crocodile Queen,” a mashup of Indonesian mysticism, when animals attack, and of course, lurid revenge! This time, a young mother and father give birth to twin girls, one of whom is the Queen of the Crocodiles and the other her sister, both played by Suzanna. On the night of their birth, men murder the parents, and when the sisters are grown, they begin to seek out those who murdered their family and exact the kind of bloody revenge that Indonesian horror revels in. It’s not as exciting a story as “Pacts,” and certainly not as violent, but it still manages to squeeze in some scenes that will remind you how absurd this genre of horror can be.

“White Crocodile Queen” is sufficiently more concerned with melodrama than horror, and focuses largely on a man cheating on his wife with Larshi (the non-Crocodile queen sister), alongside the vengeance angle. “White Crocodile Queen” features some of the zany and incoherent deaths germane to the genre, like a crocodile tail slapping someone onto a tree branch that then impales them, but the pacing makes it hard for the film to keep up the momentum as it moves from violent set pieces to long stretches of dialogue and drama. This one does feature a musical interlude that is woven into the narrative cleverly, even if it still sticks out, and overall, while not the strongest entry, there’s still plenty to enjoy with the late ‘80s Suzanna flick!

“Malam Satu Suro” (1988)

One of the roles that Suzanna is best known for is that of the supernatural entity, Sundel Bolong. In “Malam Satu Suro,” she reprises that role as both the spirit and the young woman, Suketi. Suketi meets Bardo (Fendy Pradana), a young man who instantly falls for her and asks her father for permission to marry. The thing is, Suketi is actually a Sundel Bolong inside, and thus he initially rejects the proposal, only to give in shortly after. Suketi and Bardo marry, have two children, and Bardo’s business is doing extremely well when it is discovered by a group of jealous thieves that the reason for Bardo’s wealth and success is that when someone marries a Sundel Bolong, they become wealthy. Naturally, the thieves kill Suketi and attempt to kidnap their children, taking only one who dies by accident. This triggers the vengeful Sundel Bolong to exact revenge on behalf of her widower husband and remaining son.

Yeah, this plot is a lot, but it’s also quite engaging once things get going. The conceit is quite clever, and the world we operate in treats magic and mysticism as normally as gravity and air. Here, the idea of robbing someone who is benefiting from some supernatural deal isn’t outlandish, but a revenue stream. And let it be said, no one puts more kids in peril than Indonesian filmmakers. This is the third film in a row where kids are either harmed or straight up murked, and I say this only as observation and not judgement as a happily childless person. There’s some pretty silly violence in this one that isn’t as grotesque as the previous films, but still hits the spot, and despite the rather dour tone, this is a surprisingly upbeat film that revels in executing karmic justice.

“Kliwon Friday Night” (1986)

Let it be known that no other country opens up a horror film like Indonesia, because DAMN! Within the first few minutes, we experience a violent, bloody, and explosive birth of a child out of the back of a pregnant and now dead woman. That woman will become a sundel bolong, who will eventually come to haunt the home where she died, and her daughter eventually ends up at. The daughter (played by Suzanna), all grown and now trying to combat writer’s block, does so by going back to what she comes to realize is the home where she was born. There’s a lot more melodrama to it, and true to fashion, a musical number that has some very overt references to fellatio. “Kliwon Friday Night” as a film takes its name from the night when the mother died, and the daughter was born, and while it does lean more into slower storytelling, it’s not without its signature Indonesian bloody charm.

Unlike other films in this set, this one sees Suzanna playing a single character who isn’t so much concerned with love as she is with her career. Furthermore, there’s no male savior here, despite the romantic interest and one of the strangest sex scenes ever committed to celluloid, thus putting Suzanna as the unique and only hero, in contrast to other films. In fact, at this point it’s easy to see that this is more than just coincidence, as women often have more domineering roles in these films than the men do, and the ire is both that of a woman and unto men, or women who align with the men. “Kliwon Friday Night” ends on a far happier note than some of the other films because it provides closure and violent karmic justice, thus leaving you satisfied on two fronts, even if the journey isn’t always the most engaging.

“Ghost Ambulance” (2008)

It was bound to happen, but there’s a dud in what could be considered a near-perfect box set. To be fair, technically “Ghost Ambulance” is a special feature, as the source material is quite poor given that the original negatives no longer exist and this is the best remaining copy of Suzanna’s final film. Regardless, the story here is quite bland and somewhat hard to follow as a generational curse comes due after a grandmother (Suzanna) made a deal with the devil. “Ghost Ambulance” ditches the gonzo practical effects of the earlier Indonesian horror films in favor of something far jumpier, and severely less entertaining.

The reason for this inclusion is clear: to have Suzanna’s final film immortalized in its best possible quality before it disappears forever. It’s rather unfortunate that this final film is so atrociously bad. From the jumpy editing that gives you whiplash, to the overreliance on jump scares, and most egregiously, one of the most mundane narratives that is far more concerned with melodrama than anything else. Suzanna died shortly after this film was released, but you wouldn’t be able to tell that she was suffering in her performance, as it’s clearly the best thing about “Ghost Ambulance” by a wide margin.

HOW DOES IT LOOK?

Save for “Ghost Ambulance,” the films in this set look absolutely stunning! Severin had their hands on the original camera negatives and scanned them in 2K onto 1080p Blu-ray. The films come in two different aspect ratios: 2.39:1 for the first 4 Soraya films, and then for “Ghost Ambulance” and “The Queen of Black Magic,” 1.78:1. The pastel bright colors of the Soraya films are truly breathtaking, and a testament once again to Severin’s care for these releases and the materials they use. The juxtaposition of dark blues and blacks blends nicely with brighter oranges and the cherry red blood these films are known for.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

Regarding sound options, most of the films feature a mono track taken from the source audio, with the exception being “Suzanna: The Queen of Black Magic,” which features a stereo track. The mono audio does limit some of the depth of the soundscape, but it’s to be expected considering when most of these films were made, and the idea of creating a new 5.1 or even 2.0 track may be overkill when the source elements are just as good. The dialogue never competes with other sound elements, and given that most of our readers don’t speak Indonesian, there are English subtitles included with each film. Overall, solid sound options that are crisp, clear, and consistent!

ANYTHING SPECIAL?

This box set, much like every other that Severin releases, is a treasure trove of content that doesn’t just explore the films, but the genre surrounding them. Naturally, the first feature that drew attention was Hantu Retribution: Female Ghosts Of The Malay Archipelago – Interview With Filmmaker Katrina Irawati Graham And Dr. Rosalind Galt, Author Of Alluring Monsters: The Pontianak And Cinemas Of Decolonization. This 28-minute mini-documentary provides a visual and oral history of perhaps the most famous Indonesian spirit, Pontianak, a vengeful female spirit that is common in Malay culture and film. Dr. Galt and Irawati Graham both provide a unique perspective that represents expertise on two ends of a spectrum: lived experience and academic history. The emphasis on folklore being so central in Malay culture is stated here as a way to ensure the culture doesn’t get overtaken by Colonialism. What’s perhaps most interesting to genre history nuts is how Malay films blended techniques from Western films and infused them into their own stories and processes. This isn’t just an amazing inclusion in this set; it’s exactly the reason why Severin’s so great because they’re giving you a doctorate in horror history and entertaining you.

The next feature I checked out was A Conversation With Director/Co-Producer David Gregory And Co-Producer Ekky Imanjaya, an 18-minute Zoom interview between David and Ekky discussing how the documentary came to be. David mentioned that, originally, he and Joko Anwar were going to co-produce and direct, with interest from the folks at Shudder, but Joko’s busy schedule wouldn’t permit it, and Ekky was happily able to assist as well. David was searching for a topic that hadn’t been covered ad nauseam, and the idea of Suzanna made a lot of sense. Ekky also notes that film restoration and general archiving haven’t been great for Indonesian film, so this is a way to preserve culture and Indonesian genre film history. What David wasn’t prepared for was just how popular and ubiquitous that popularity was among Indonesian people. Ekky comments that the reason she hasn’t been covered by the Western mainstream in any way is largely due to cultural differences in the stories and how they’re told. It’s a fair assessment due to how close-minded we all must seem sometimes based on some of our elected leaders, but we are genuinely better for having access to these films (as evident with the glowing reviews above). 

A full list of special features is listed below.

Special Features

Special Features for “Pact With The Forces Of Darkness”:

• N/A

Special Features for “White Crocodile Queen”:

• N/A

Special Features for “Malam Satu Suro” / “Kliwon Friday”:

• Hantu Retribution: Female Ghosts Of The Malay Archipelago – Interview With Filmmaker Katrina Irawati Graham And Dr. Rosalind Galt, Author Of Alluring Monsters: The Pontianak And Cinemas Of Decolonization

Special Features for “Suzzanna: The Queen of Black Magic”:

• A Conversation With Director/Co-Producer David Gregory And Co-Producer Ekky Imanjaya

• David Gregory Introduction At Jakarta Film Week Screening, October 2024

• Trailer

Special Features for “Ghost Ambulance”:

• The Making Of GHOST AMBULANCE

• ShowBiz On Location Interviews With Cast And Crew

• GHOST AMBULANCE Silet Interview With Actors Suzzanna And Clift Sangra

• Promo Clips

• Trailer

LAST RITES

“Suzanna: Empress of Darkness” is a grand slam for Severin that includes not just a fascinating documentary, but four of the most out-there Indonesian horror films you’re likely to see in some of the most beautiful restorations of 2026. This is by far one of my personal favorite sets Severin has put out, and it includes at least two films that I can’t wait to show others. A must-own for collectors of genre world cinema and connoisseurs of genre history!

THE GORY DETAILS

Thank you to the fine fiends at Severin Films for providing a review copy for the crypt! “Suzanna: Empress of Darkness” is available now and can be purchased via Severin's Webstore!

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As noted in our recent review of the new survival horror slasher, “Pitfall,” camping can be a real drag, and that isn’t improved when you have a hulking survivalist hunting you and your friends in the woods. While most of us (thankfully) won’t have to experience this firsthand, the great thing about horror is that we can live these experiences vicariously through the characters in films, from the safety of our homes and/or a dark theater. Survival horror isn’t one of the more popular sub-genres these days, but filmmaker James Kondelik makes a strong case for why there aren’t enough of them in “Pitfall,” which is out now on VOD from Cineverse.

James was kind enough to spend some time talking to Macabre Daily about how “Pitfall” came to be, the challenges with short shooting days compounded by location manager snafus, and the resilience it takes to make a damn film, and in this case, a damn good one! This was a really fun conversation, and we hope you enjoy listening as much as we enjoyed recording it!

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Anthology horror films can be a lot of fun, akin to screening short films, albeit with the added benefit of some connective narrative tissue, but they’re often quite uneven. One can probably count on one hand how many anthology horror films they’ve enjoyed from start to finish with no issues, and if you can name more, excellent, but the point remains the same. Perhaps the missing ingredient is some good old-fashioned death metal? Or maybe just a death metal frontman? Either way, that’s what you’re getting with Alex Chandon’s “Cradle of Fear,” which has just debuted on North American Blu-ray courtesy of the devious folks over at Unearthed Films. Is this a slice of heavy metal horror heaven or hell?

WHAT’S IT ABOUT?

A gruesome homage to the cult Amicus anthology “Asylum,” “Cradle of Fear” unfolds four screamplays all linked by the unspeakable need of an incarcerated child killer to wreak vengeance on those responsible for his imprisonment. Helped by deranged angel Dani Filth, who leaves a trail of charnel house death in his crimson wake, the cannibal convict forces two Goth vamps to endure a one-night stand from hell, two tough female robbers to see through each other, an obscenely rich coke-head to chop up more than a few lines, and an internet surfer to descend into madness when he uncovers the ultimate web depravity.

HOW IS IT?

It’s not uncommon for filmmakers to move from one medium to another, specifically the pipeline for music video directors to short and feature directors. In the case of Alex Chandon, he was the go-to director for the wildly successful black metal group Cradle of Filth, who eventually merged that work directly into his films with 2001’s “Cradle of Fear.” The film even goes so far as to feature the frontman of the English metal act, Dani Filth, among other band members in various cameos. The result is somewhat of a mixed bag, like so many anthology films that feature a couple of stand-out stories and a couple that are just okay. The quality of the acting and effects isn’t top-notch, but it’s not enough to put the film into parody territory; it’s likely to be more interesting for fans of the group and extreme horror than for the horror masses.

“Cradle of Fear” is made up of three stories and a wrap-around involving a police detective who is trying to prove that the murderer he had locked up is responsible for a series of recent murders, when they’re actually being perpetrated by Dani Filth, who is simply credited as “The Man.” Each story is connected to The Man in one way or another, and like 99% of anthology films out there, the results are mixed. The first story focuses on a one-night stand that leaves a woman carrying more than a hangover the next day, whereas the second one is about a rich, recently made leg amputee who goes to extreme medical lengths to get his leg back, and finally, the third story is about an investigative reporter (we think?) who gets sucked into the early days of the dark web. The last story is by far the best, and in many ways well ahead of its time given the idea of people being corrupted by what they’re seeing online is the premise of a large swath of horror films these days. What really helps the last story excel above the rest is that it delivers a genuinely clever twist that feels akin to the kind of EC morality tale so many anthology horror stories lean into.

The other two stories are fine, but feel somewhat underwhelming in both their execution and concept. The first story is essentially a vehicle for Goth Girl T&A, and despite some solid gore effects, it feels far too familiar to be interesting. The second story is likely the one with the most wasted potential, as it features some under-explored ideas compared to others, such as the idea that the rich guy’s wife/girlfriend may be into amputees and such his limb being back turns her against him, but “Cradle of Fear” isn’t trying to tell the most interesting tales, just the most direct. Perhaps that's the film’s greatest misgiving; it favors something generic rather than something novel. The acting isn’t great, which doesn’t help things, but bad acting alone doesn’t sink a film given these stories leave a lot to be desired. The characters don’t feel lived in, and at 228 minutes it starts to wear on your patience by the mid-point. Still, something is charming about what’s assembled, especially for fans of extreme and “edgy” horror, but likely not for many others.

HOW DOES IT LOOK?

Unearthed Films brings us “Cradle of Fear” on Blu-ray with the same 1.66:1 aspect ratio it was released with, albeit this time in 1080p. One of the challenges we have with Unearthed Films is the inconsistency of AV quality in their releases, and this one is a lesser extreme example. It’s not made clear if any restoration or additional grading was done for this release, but all signs seem to point to “no,” and that this is simply just an upscale of the old DVD. While it’s not the worst transfer, it’s quite cloudy and matte colored in a way that doesn’t do the film any favors. While it would certainly add to the costs, as Unearthed has in the past commissioned new transfers, it would go a long way for preserving these films for the future rather than just marginal gains to release them in a newer format.

Images from this release are used throughout this review.

HOW DOES IT SOUND?

Similar to the visual elements, the sound options are somewhat limited, but do fare better in terms of quality. There’s an LPCM 2.0 stereo track that is more than sufficient for the film, despite the loud metal music that permeates the soundtrack. The dialogue is nicely balanced with the music and diegetic sound, so there’s no issue in terms of competing for the soundscape, and there are English subtitles available for those who prefer to use them. Not a bad audio track by any stretch; rather, just an unremarkable one.

ANYTHING SPECIAL?

Insofar as the special features are concerned, Unearthed Films have brought out a rather impressive selection of mostly archival features, but welcome additions to what will likely be the final edition of this film on physical media. The first feature we checked out was The Special German DVD Making of Thing Something For Cradle of Fear, a 42-minute BTS mini-doc narrated by a literal floating head of filmmaker Alex Chandon. He goes in shooting order as he goes through the footage and adds some context to what is otherwise home video footage of the production. One of the small and funny tidbits is that for one of the film’s first bloody setpieces, Chandon used a room in his mom’s house and promised to repaint it given how much blood and gore they were going to be throwing about. Perhaps the best part of the documentary is Kato, Chandon’s cat, who was also an actor in the film during a scene that is genuinely impressive for a cat actor. Animal abuse folks can put their pitchforks down because the cat was very much okay with being part of the bit. There’s also an interview with one of the two Assistant Directors, as the production had two of them because the first one quit, but it seems like it was on good terms and he wasn’t a big fan of the gore. This is a fairly entertaining and unfiltered making of, and a breath of fresh air from the over-produced webisodes that studios put out.

The next, and perhaps most interesting special feature is the entire 2nd disc, which includes a selection of Chandon’s short films. 8 films in total, some of which have their own special features like trailers and outtakes, and while we didn’t watch all 8, we did check out a few to get a sense of young Chandon before “Cradle of Fear.” The first one, “Chainsaw Scumf***” is less of a film and more of a primal rage of amateur angst with a kink for Leatherface. Jumping ahead a few years is “Bad Karma,” which takes the “Kali-ma” chant from “Temple of Doom” and repurposes it as the mantra of a group of shape-shifting hari krisha attacking some locals. Finally, “in the name of the Father, the Gun, and the Holy Ghost,” it’s “Night Pastor!” This 9-minute proof-of-concept / extended trailer is exactly what it sounds like as a priest takes to the streets to mow down enemies of God with all kinds of automatic weaponry. This is the kind of thing that would absolutely kill if it were to come to fruition, but we’re not holding our breath.

A full list of special features is listed below.

Special Features

DISC ONE – FEATURE & EXTRAS

• Some Making of Cradle of Fear

• The Special German DVD Making of Thing Something For Cradle of Fear

• Important Words

• Behind the Scenes Gallery

• Trailers

DISC TWO – SHORT FILM COLLECTION & EXTRAS

• Alex Chandon's Shorts Collection including:

• Chainsaw Scumf***

• Bad Manor

• Bad Karma

• Drillbit

• Night Pastor

• Bullshit News

• Film Extremes 3 Promo

• Borderline

• Shorts Behind the Scenes Gallery

• Trailers

LAST RITES

“Cradle of Fear” isn’t the best anthology out there, but it does scratch a very niche itch for a Cradle of Filth / Horror anthology crossover. The stories are relatively mid save for one, but it’s got a lot of gnarly practical effects, and the special features that Unearthed Films have curated make this a strong recommendation, especially for the extreme horror heads!

THE GORY DETAILS

Thank you to the fine fiends at MVD Entertainment for providing a review copy for the crypt! “Cradle of Fear” is available now and can be purchased via MVD DIRECT!

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At Macabre Daily, we’ve interviewed hundreds of filmmakers and asked them all the same question: why do you do it? The most common reason is an intrinsic desire to create that often teeters on obsession. The second most common reason is that they can, and it turns out that’s one of the most important requirements for helming a production at The Asylum. At least that’s what filmmaker Anthony Firth discovered in his autobiographical documentary, “Mockbuster,” in which he gets a chance to pursue the dream of making a movie, or in this case, two!

WHAT’S IT ABOUT?

A struggling filmmaker’s opportunity collides with chaos and compromise when Sharknado’s notorious studio, The Asylum, invites him to direct a "mockbuster." With six days, a micro budget, and mounting pressure, “Mockbuster” is a comedic, behind-the-scenes documentary exploring the balance between low-budget filmmaking and creative ambition.

HOW IS IT?

Genre fans are likely familiar with The Asylum, the production house that specializes in making films that riff on popular trends while delicately avoiding trademark and copyright infringement. The Asylum knows that the movies they churn out aren’t intended to be masterworks, and one might even wonder why they do it if not to create “great” art. The thing is, and as Anthony Firth discovers, subjectivity has no place in production when margins are as thin as paper and formulaic production practices are fine-tuned to ensure profitability. “Mockbuster” is as much about The Asylum as it is Anthony, with an edge more towards Anthony’s personal journey of realizing what a filmmaker truly is, but the best parts are when we get to experience the inner workings of genre films' most notorious studio.
The film begins with Anthony introducing us to his life: he was a weird kid who knew from an early age he wanted to make movies. After some minor successes early in his career, things went dormant. At the same time, he and his wife welcomed their first child, and Anthony resigned his dreams of making Hollywood films in favor of something more pedestrian: corporate training videos. Anthony decides he’s deferred his dream enough, and he cold emails The Asylum asking for a job, not realizing that he was about to get it. From there, we see just how a first-time feature filmmaker works within the well-oiled and cutthroat machine that is The Asylum, and how Anthony begins to accept that not all filmmaking is created equal.

“Mockbuster” is a personal story, and Anthony tells it well. He never shies away from the insecurity and imposter syndrome that so many feel when they’re doing something for the first time. We get to see him struggle with understanding the breakneck pace of production, or the worry build-up when they’re mere weeks away from shooting and he doesn’t have a script to work with. For those who haven’t been exposed to behind-the-scenes filmmaking, it can probably feel like chaos manifest, but many filmmakers will tell you that’s part of the process and unavoidable. There’s truth in that, and “Mockbuster” does a great job of outlining the details that often go unsaid about how films get made, particularly films that shoot in 6 days. Anthony’s willingness to take us along is insightful, illuminating, and often funny, but it’s also where the film stumbles some.

Given how much the conceit of the film is about not just The Asylum, but Anthony making a film, we spend a lot of time with Anthony narrating the action. It’s not a bad decision, and certainly necessary to keep track of what’s going on, but at times it feels like he’s the only voice we’re hearing when there are so many other fascinating people and characters introduced. The first half of the film does a great job of showing us the players at The Asylum and how things work there, but once we pivot into production, it feels more like an episode of “The Wonder Years” with only the Fred Savage narration. Again, this doesn’t deter the film in any way, but rather speaks to how unexpectedly interesting The Asylum and their process are. Nevertheless, the viewer learns a lot about production, and the tenderness of Anthony’s self-discovery makes this somewhat of a required viewing for future filmmakers to check their ego and ground themselves in reality.

LAST RITES

“Mockbuster” is a touching and often hilarious look at an amateur filmmaker working within the confines of a rigid and chaotic system, showing that humility and humanity are essential parts of filmmaking, even if what you’re making isn’t “high art.”

THE GORY DETAILS

“Mockbuster” will have a limited theatrical release on Friday, July 10, 2026, and will also be available on VOD day-and-date. The film will be released in the UK on VOD from Miracle Media on 26 July, 2026!

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Jason Voorhees, Michael Myers- the worst these guys can do is kill you. Jigsaw, Leatherface- they might torture you first, but once you’re dead, you’re dead. When you’re dealing with more supernatural horrors, the stakes get much higher. “Chaplain”, a new religious horror graphic novel written by Brad Sun and his brother Revered Wesley Sun, focuses on the battle for the immortal soul. Raúlo Cáceres, one of the great modern horror illustrators, brings the Sun brothers’ disturbing fears to the page in vivid, incredibly disturbing detail in “Chaplain”. Buckle up, because Chaplain is one terrifying ride straight to hell.     

WHAT IS IT ABOUT?

Chaplain Charlie spends every day at his hospital consoling those who have suffered great loss, or helping those who are about to suffer great loss. He is haunted by the numerous spirits who float around the hospital, from countless stillborn babies to more malignant forces that met their end on a gurney. With the aid of his young chaplain in training, Maria, Charlie must face the growing darkness before it not only consumes him, but damns him.

HOW IS IT?

I’ve been binge-watching The Pitt recently, and that show is a pretty gnarly experience in and of itself. Now “Chaplain” asks me to imagine that everyone who dies on a gurney in that show isn’t just gone, but floating around the hospital. Well, I don’t really have to imagine it, because Raúlo Cáceres illustrates the pervading death in such a revolting way that Hieronymous Bosch might lose his lunch looking at it. Without a doubt, “Chaplain” is one messed-up graphic novel. The panels I’ve selected for this review are honestly as tame as it gets.

If you’ve been unlucky enough to spend a good amount of time in hospitals, you are familiar with the bleak vibe that starts to set in. I’m besotten with some chronic illnesses, and I’ve taken a few scary trips to the ER, but I can’t even imagine the experience of Revered Wesley Sun, an actual hospital chaplain. Revered Sun has been a chaplain in hospitals, jails, and shelters for twenty years, and this book is clearly the result of what keeps him up at night. Sun’s writing with his brother Brad Sun feels intensely personal, infused with not only the horrific things he’s seen but also his views on religion, life and death, and the role of a hospital chaplain.

The central character is simply known as Chaplain Charlie, he’s not an old man, but he is aging, and reaching the end of his rope. Charlie deals with a variety of spiritual consultations for hospital patients, but what’s eating him most is stillborn babies. As he comforts devastated parents and commends the souls of the little ones to god, the mental and spiritual weight is slowly crushing him. He sees the bodies everywhere, and eventually the hole being torn in his soul allows something very dark to worm its way in. Charlie goes from the protector of the sick and dying to very much needing some protection himself.

Charlie’s conversations with his various patients are pretty fascinating, as he engages with emotions ranging from grief to relief, and very often anger. The philosophical and spiritual discussions are represented on the page by Cáceres often in grotesque detail. A dead abusive father floats as a piercing, mean-looking ghost, while a family stuffs the deflated body of a grandmother they hated into a trash bin. The stillborn babies become balloons on a mardi gras parade to hell as Charlie’s sanity slowly slips away. Is there a vile spirit with his soul in a vise, or is he just losing his sanity to the pressure of the job? The Sun brothers never make it truly explicit whether the demonic is real or not, and while such ambiguity can often be annoying to me, it really works here. Whether you believe or not is up to the reader; perhaps the authors don’t even have the answers themselves. As Roger Ebert wrote in his review of “Sinister” in 2012: “The ending is horrifying, but I don’t believe in that stuff. I’m pretty sure I don’t”.

Despite what I’ve written above, “Chaplain” is not all darkness. Reverend Sun also explores in some ways the power and relief Charlie finds in giving families some sense of closure, and Cáceres finds artistic beauty in the souls ascending to heaven in a ray of light, a stark contrast to the rest of the book’s visuals. The story also tries to find some light in Maria, a good-natured chaplain who Charlie is training to someday take over for him. Maria is a bit of a Gen Z caricature; her purple hair and Wednesday Addams clothes adorned with pins and stickers contrast with Charlie’s bland professional boomer tie. 

Maria is non-binary and a non-Christian who emphasizes transhumanist, anti-ableist care. The trainee Chaplain struggles early on with coming off as overbearing to her patients. I’m not sure if the writers are intentionally trying to knock her queerness, or if they consider it a part of being a quirky zoomer. It does create effective contrast with Charlie, and the dialogue between them and how they approach care and spirituality is actually well written. The brief pronoun discourse and the ultimate character arc for Maria end up just rubbing me a tad wrong, though. Having pronouns just doesn’t feel like something that should be tossed in to emphasize a character's quirkiness or youth. It’s not a huge issue, but it did annoy me. 

Otherwise, Maria is fairly well written, and her relationship with Charlie is genuinely quite tender. Revered Sun’s bio explains that he is currently training a new generation of Chaplains in Chicago, and that authenticity bleeds through. Authenticity is the greatest strength of the writing overall; “Chaplain” feels like a lived-in experience put down to the page; it’s an enlightening window into the emotional weight that caring for the dead and dying can take on a person.

As I’ve mentioned throughout, Raúlo Cáceres realizes all these horrors with incredible vision and attention to detail. “Chaplain” is littered with nightmarish splash pages that display a rotting, sickened vision of the demonic and damned, the kind of fetid human viscera you can only find on a battlefield or a hospital. Cáceres proved his talent for drawing brutality and violence with “The Extinction Parade”, “Code Pru” and “Crossed” during the gorey glory days of Avatar Press, but “Chaplain” has allowed him to envision unholy creatures beyond anything I’ve seen from him prior. 

Cáceres is aided by some gorgeous coloring from Ryan Winn, who manages to keep the comic colorful despite the darkness. Wynn takes the lead on setting the tone from scene to scene, with a high contrast between Charlie and Maria’s different cases. Wynn carries the blood and the ick factor well with his vomitous, decaying greens and purples, but is also chiefly responsible for finding the beauty in “Chaplain”. The golden glow as souls ascend or find peace is a quite literal light in the darkness, and the result is some genuinely very moving scenes. Subtle it might not be, but nothing about “Chaplain” is subtle. 

LAST RITES

“Chaplain” is a magnificent delve into the spiritual battlefield of a hospital, emotionally wrenching and filled with insight into the toll it takes on the people who work there. I could not take my eyes off a single panel of Ráulo Cáceres’ nauseating and petrifying art, even if I wanted to. “Chaplain” is the kind of graphic novel that genuinely gets under the skin and will make you want to avoid a trip to the hospital more than you probably already do.

“Chaplain” is on sale from Storm King Comics as of July 7th, 2026. You can purchase “Chaplain” direct from Storm King here

THE GORY DETAILS

WRITTEN BY

BRAD SUN & THE REVEREND WESLEY SUN

ART BY

RÁULO CÁCERES

COLORS BY

RYAN WINN

LETTERING BY

MARSHALL DILLON

EDITED BY

SANDY KING

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What would you do for $5 million? 

If you’re Poppy Stringer, you’ll do anything—including picking up the wrecked corpse of your favorite pop star in an unmarked refrigerated truck.

It’s less of a leap than the wild premise might suggest. Poppy is a successful influencer, but the money she earns isn’t enough to survive single parenthood while also funding the extravagant life she’s determined to provide for her daughter. By the time her phone fatefully rings, Poppy is already an active participant in the black market body trade, stealing corpses and dropping them off for unsavory clientele. 

But this new request presents an entirely different level of risk and reward—even before the dead body of pop star Eddie Michaels is walking, talking, and embarking on a sadistic all-night killing spree across Palm Springs.

“Fabulous Bodies” is another hit from an author who rarely, if ever, misses. Chuck Tingle delivers a novel that simultaneously achieves a gloriously gory body count and a high concept exploration of life, death, and the meaning of identity in a world where fame has never been more accessible. It’s out on July 7 from Tor Nightfire.  

Synopsis

From Chuck Tingle, USA Today bestselling author of Bury Your Gays, comes Fabulous Bodies, a supernatural joyride where Drive meets Beetlejuice.

Poppy Stringer was born to be a star.

An aspiring fashion influencer by day, Poppy moonlights as a grave robber to make ends meet, wheeling and dealing dead bodies across Palm Springs.

When her hero, the flamboyant, piano-slamming rockstar Eddie Michaels, unexpectedly dies, Poppy gets a call to retrieve his body from the medical examiner’s office for a lucrative sum. It could be the last job she’ll ever need—if everything goes to plan. But the night’s delivery quickly veers off course when Eddie wakes up.

Now Poppy must fight for her life if she hopes to survive this blood-soaked joyride of carnage and extravagant entertainment.

For Influencers and Entertainers, What Lurks Behind the Facade?

The answer: A very, very different reality. 

All outward signals suggest that our main character, Poppy, lives a charmed life. Her posts and Reels rack up thousands of reactions. Her closet is packed with on-trend clothes. Her home has a picture-perfect pool that looks so, so good on the ‘gram. 

But Poppy’s followers never see the stack of unpaid bills hidden in the kitchen, or the way her daughter is left to her own devices as Poppy spends hours filming and editing on her phone. Behind the scenes, Poppy’s outlook is as harsh and ruthless as she believes the world to be. She envisions herself as a shark, always on alert for blood in the water.

Pop star Eddie Michaels has secrets, too. After he reanimates and escapes into the desert night, Poppy begins to piece together the truth behind his megawatt charisma. Without giving away the novel’s twists and turns, Eddie is much older, stranger, and more dangerous than his fans could ever guess. 

The novel is built to explore the fundamental inauthenticity of a world where entertainers mimic intimacy and vulnerability while living a completely different life behind the scenes. Tingle is interested in a question that Eddie has dismissed, and Poppy doesn’t think to ask: What’s the effect this crazy system has on our souls?

In Tingle’s world—and probably our own, too—fame comes at a cost, mass influence is artificial, and nothing is exactly what it appears to be. 

The Existential Divide Between Body and Soul

As the novel’s name implies, Fabulous Bodies explores the nature of identity. Does our true self exist in the body? The soul? Or somewhere in the intersection between the two?

For Poppy, the body is simply meat. At least, that’s what she tells herself as she drops bodies off at remote shooting ranges and unnerving private parties. Her black market body dealing seems tidy and practical, and she works hard to rationalize away its more distasteful aspects. After all, the deceased are no longer using their former vessels. Why shouldn’t Poppy extract value that would otherwise be wasted—especially if the funds can provide a better life for her daughter?

Poppy’s attitude extends to her own body, which she views as a means to an end. She doesn’t know the parents whose genetics blessed her with beauty, but she’s determined to exploit every advantage available to her. When we meet her, she’s already become an expert at posing and dancing and occasionally crying on camera. 

But transporting a dead body is different than watching someone die, and our own bodies take on new meaning when we understand who our genetics come from. Poppy soon finds that she can’t stomach Eddie’s indiscriminate violence and disregard for human life. 

The novel’s best, most satisfying moments arrive as Poppy is confronted with insights that upend her worldview. She’s a flawed and often difficult character who nonetheless possesses an immense capacity for growth and evolution. As the bodies pile up, Poppy’s empathy switches start flipping on, prompting a profound shift in the way she views her family, strangers, and even herself.

A Slasher With Buckets of Blood and Heaps of Heart 

It needs to be said: Tingle can write one hell of a massacre. 

Eddie is a formidable villain who’s able to compel humans to commit unspeakable acts of violence. Wherever he goes, creative and surprising bloodshed follows. Luxury hot tubs, mountaintop gondolas, compounds where the wealthy retreat from the hoi polloi—none are spared from Eddie’s hyperviolent killing spree. 

On the spectrum of Tingle’s previous novels, the splashy setpieces in “Fabulous Bodies” are notch below the absurdist violence of “Lucky Day,” but definitely bloodier than “Camp Damascus” or “Bury Your Gays.” If you were both sickened and entertained by the vegetable peeler scene in “Weapons” or the stylized kills in “Ichi the Killer,” you’ll find a lot to love in this story.    

But true to his mission, Tingle reminds readers that what actually matters can’t be measured in likes or impressions, ticket sales or red carpet invitations. As the shootings, stabbings, and self-mutilations reach a feverish intensity, it’s all in service of Tingle’s ultimate message: That love is real, and it’s all around us, if only we can open our eyes and see.

You can purchase “Fabulous Bodies” here.

You can follow Chuck Tingle quite literally everywhere: Twitter, Facebook, Instagram, TikTok, Tumblr, and Patreon.

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Canada’s Fantasia International Film Festival isn’t just one of the best genre festivals; it’s also one of the longer-running events, celebrating 30 years this year. Before the festival kicks off next week on July 16th and concludes on August 2nd, Macabre Daily is once again fortunate to be able to cover this event virtually (although it is a goal to be there in person someday!). In honor and anticipation of this multi-week genre film event, Doaa Magdy, Lowell Greenblatt, Sean O’Connor, and Matt Orozco share the films they can’t wait to see!

Doaa’s Picks!

“Black Zombie”

Synopsis: Writer and director Maya Annik Bedward digs deep into the history and impact of the zombie with her first feature-length documentary, BLACK ZOMBIE. Starting as a 2018 Frontieres project, and now a fully realized film, there’s plenty of accessible information from historians, the influential Black horror writer/filmmaker Tananarive Due, makeup great Tom Savini and zombie enthusiasts alike. Bedward explores the origins of the zombie, examining the history of the transatlantic slave trade, the brutality of the mass importation of African people and their religious practices, which were uprooted during the period, and demonized by European rule and colonialism in Haiti.

Tracing through hundreds of years of information, this isn’t a textbook lesson. It’s a living document of storytelling, highlighting Haiti, Voudou, its practitioners and the vibrancy of a country and culture that still endures despite the trope in modern culture.

Why We’re Excited: Horror movie fans have been craving a historical look into the origins of zombies, which is rooted in Blackness. Learning about zombies is learning about Black history. What makes this film even more compelling is that it is written and directed by a Black woman. So you know I’ll stay seated for this.

“Unholy Night”

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.

Why We’re Excited: Holiday horror is my favourite subgenre and I also have a very personal reason. A few years ago I was invited to an Italian Christmas dinner and I remember sitting there and thinking this family dynamic would be a great premise for a horror movie. This is more than enough of reason for me to look forward to this one.

“Ancestral Beasts”

Synopsis: A troubled Métis woman commits to finally facing the figurative demons in her past only to uncover a literal demon living within the bowls of her rural home that she must battle before it kills her and everyone she loves.

Why We’re Excited: I’m excited because it is Indigenous horror and this genre needs more Indigenous stories. This film explores the themes of mental health and trauma through the lens of a Métis woman, which is a perspective we don’t usually see in horror. With the systemic barriers Indigenous filmmakers face, it is crucial to create spaces where we get to see Indigenous futurism on the big screen.

“Bowels of Hell”

Synopsis: A mother battling trauma faces a surreal nightmare when toilets mysteriously transform into killer beings, forcing her to confront both her personal demons and these bizarre supernatural threats.

Why We’re Excited: I love when indie filmmakers are bold with their vision and turn societal taboo topics into a visual story. The film looks surreal, fun and gross, all components for a good horror comedy. Thanks to “Bowels of Hell”, I am adding Brazilian horror to my watchlist.

“Sleep No More”

Synopsis: Sibling are forced to work in a hair factory to pay off their mother's debt. They witnessed strange events that happened to the workers.

Why We’re Excited: An Indonesian body horror? Sign me up, please. What makes Indonesian films uniquely terrifying is that they rely on an eerie atmosphere and creepy performances instead of jump scares. This one stands out to me because it highlights a true horror story for thousands of people around the world working in unsafe mental, emotional, and physical conditions.

This is also one of Sean’s picks, and here’s what he had to say!

Why We’re Excited: A film that essentially brings to life the very real and terrifying threat that is the out-of-control, insatiable blood lust of Capitalism? Yes, please, and thank you! While most horror films have much to say about societal conditions and oppression, North American audiences rarely get a front-row seat to the 21st-century slavery that is sweatshop work. Word on the street is that the director, Edwin, leans heavily into practical effects for the body horror and scares, much like Carpenter's "The Thing." If that's the case, this movie has all the trappings to be a top film for 2026.  

Sean’s Picks!

“Ferine”

Synopsis: Excited to explore a new chapter in life, wealthy and influential art collector Irene (Carolyn Bracken, ODDITY, YOU ARE NOT MY MOTHER) has just adopted a baby through a surrogate arrangement. This exploration will take on unexpectedly darker shapes when a sudden tragedy shatters Irene’s world, grief tearing through her to such paralyzing extremes that primal, violent instincts begin to guide her in ferocious ways. Her path fatefully crosses with Dama (Caroline Goodall, SCHINDLER’S LIST, HOOK), a lavishly wealthy trafficker of exotic predator animals. Dama recognizes that Irene has become a mercurial predator herself. A morbid bond forms between them. Few in the vicinity will be safe.

Why We’re Excited: We've been avid fans of Carolyn Bracken since "You Are Not My Mother," but her performance in "Oddity" makes it one of 2025's best films. It was simply amazing. If she's in it, it goes to the top of our "Must-See" list. This story seems like something Julia Ducournau or David Cronenberg would love to sink their teeth into. The beautifully bizarre factor here seems destined to be off the charts, and we're here for it 100%.

“Colony”

Synopsis: “I am the only vaccine that can stop this outbreak.” Professor Se-jeong (Gianna Jun) attends a biotech conference to hopefully start looking for a new career in the field. What is supposed to be a simple day of finding a new job turns into blood-soaked terror as she and other survivors are trapped in the building with nowhere to run as a dangerous virus mutates people into infected beings undergoing horrifying transformations. It’s a fight for survival against these mindless, cannibalistic freaks, while struggling to figure out how to end this deadly threat…

Why We’re Excited: Back in 2016, after "Train to Busan" hit theaters, the zombie genre took off like a rocket. Now, ten years later, we're not sure it has the same grip on horror as it did previously. The incredible, diverse slate of horror films that have hit theaters over the last 3 years has been overwhelming in both narrative creativity and, most surprisingly, mainstream box-office success. Now, at the dawn of the YouTube creepypasta transition to features, it will be interesting to see whether "Colony" can revitalize this subgenre and reignite audiences' hunger for "more brains!" 

“The Samurai and the Prisoner”

Synopsis: In the final, climactic years of Japan’s bloody Warring States period, Araki Murashige (Masahiro Motoki, DEPARTURES), lord of Settsu province, suddenly undid his longstanding allegiance to the ruthless warlord Oda Nobunaga. Arioka Castle proves resilient against the ensuing siege from the outside, but within its walls, a succession of baffling events threatens the defenders' resolve. A boy is murdered with a seemingly invisible arrow. An enemy’s severed head becomes startlingly misshapen. A teapot of great value vanishes, and a turncoat is struck by lightning. Four impossible occurrences, one for each season. Signs of divine intervention—or perhaps a very human conspiracy. Murashige must unravel these puzzles; to do so, he must enter a contest of wits with the man he has chained in his own dungeon: the brilliant strategist Kanbei Kuroda (Masaki Suda, DON’T CALL IT MYSTERY).

Why We’re Excited: This film feels like it may have come straight from our subconscious. It's everything we didn't know we needed in our lives right now. Part samurai epic, part Agatha Christie murder mystery, part Holmesian battle of wits! This film looks like it has everything, and we can't wait to get lost in the beautiful visuals and intricate plot. Hopefully, this movie will ignite new interest in period-piece mystery. Swing a cat (please don't, it's just a stupid saying) on BBC or Acorn, and you'll hit a dozen of these, but on the big screen, there's just about zero representation, so hopes are high for this one.  

“After School”

Synopsis: Edwin (Rutger de Bekker) is a perfectly decent guy—a loving father, devoted middle-school music teacher, and faithful friend. At least, that’s how Edwin sees himself. To everyone else, he’s a human piñata—a control freak to his teenage daughter, a pushover to his fellow teachers, and a target for ridicule and humiliation to his students. He’s been passed over for a cherished Vice Principal job for his “stunning lack of authority,” and now he has to contend with Bastiaan (Kylian de Pagter-Colin), a budding bully (and his principal’s nephew), who is out to make his life hell after Edwin loses his temper—on camera. Not making matters any better is Edwin’s only friend, Peter (Ruben van der Meer), the school’s gym teacher, whose sole advice is to fight fire with fire, which turns out to be a really, really bad idea. Edwin and Bastiaan’s not-so-private battle gets progressively worse, leading to even more debasement, petnapping, and police interrogation. If Edwin ever needed to show assertiveness and finally take charge, it’s now or never, because if he doesn’t, school is going to be out for him for good.

Why We’re Excited: How often do you watch a trailer and laugh so hard you get lightheaded? Now you know why "After School" is the top spot for our most eagerly anticipated Fantasia screening. This movie is destined to be acquired by Seth Rogen,, and honestly, we wouldn't be surprised if it already has. Giving off all the best deranged vibes of "Observe and Report" and "Four Lions," we can't wait to experience the cringe this film doles out in droves.

Lowell’s Picks!

“The Last Temptation of Becky”

Synopsis: When we first met Becky (Lulu Wilson, THE HAUNTING OF HILL HOUSE) in 2020’s BECKY, she was an angry, grieving teen dealing with her mother’s death, and her father’s new fiancée intruded on their lake house vacation. To make matters worse, escaped Neo-Nazi inmates terrorized them and killed her father, and Becky unleashed her rage in a gory battle. In THE WRATH OF BECKY, she just wanted to live her life in peace, but had to exact more terror and gore on a group of domestic terrorists. This time, Becky’s skill at opening a can of whoop-ass is harnessed by the CIA as a secret weapon of its undercover operations. There’s also a new Nazi in town, General Wilhelm Reuss (Neil Patrick Harris, SUNNY DANCER, GONE GIRL), and he wants to create the Fourth Reich. Insane, you say? You’d be right, and Agent Becky Hooper is exactly the person to take him down. She’s not Becky-with-the-good-hair, this is Becky-with-a-withering-stare, and if you’re a creep, it’ll be the last thing you see! With inventive weapons now improved with U.S. government funds, she sets out to crush Nazi ne’er-do-wells!

Why We’re Excited: The third entry in the “teenage girl turning white nationalists played by known comedic actors into red mist” is definitely on the list, especially since this one is being helmed by Jenn Wexler of Shudder hits “The Ranger” and “The Sacrifice Game.”  Plus who doesn’t love to see Nazis get their collective shit rocked? Nobody I want to know.

“The Glorious Dead”

Synopsis: Over the course of a single hellish winter day, a rural U.S. town finds itself in an irrationally changed state. Neighbours and loved ones are disappearing without a trace. Pets as well. Blood oozes from water taps. Creatures unlike anything known in nature are seen in the woods. Fear and paranoia spreads through the community. Some want the town to be shut off and isolated, for fear of outside contagion. On this day, where no previously accepted norm can be relied on, a trusted sheriff (Toby Poser) and her young deputy (Zelda Adams) try to bring reason and stability to circumstances that are impossible to navigate, let alone understand. People are turning against one another. The sky is changing. Soon, the dead will no longer stay inside the earth.

Why We’re Excited: Oh, like I’m NOT going to see the latest Adams Family film, their departure from folk horror featuring a meat suit and prop they’ve nicknamed “The Devil’s Butthole,” at my earliest opportunity?  Get your head out of your ass. Then put it back on the shelf until it’s ready.  They work hard on those.

“Junction Row”

Synopsis: After leaving the addicted Ruby (Natalie Brown, THE BREACH, THE STRAIN) and the troubled housing compound called Junction Row, army vet Juno (Katharine Isabelle, GINGER SNAPS, AMERICAN MARY, BACKROOMS) starts the long journey to recovery. A former drug addict herself, Juno finds solace in her twelve-step meetings, but she’s haunted by her military past and her lost relationship. When her former drug dealer Miles (Kyle Mac, BETWEEN, GOVERNMENT CHEESE) tracks her down, he tells Juno that Ruby is in trouble and a bad-seed drug dealer called Hugo (Kayla Dumont, THE SILENCING, SPARE PARTS) is at the bottom of it. Juno, fuelled by her guilt, goes back to Junction Row to find Ruby, and learns that a new drug called “The Link” is wreaking havoc throughout the compound. Ready for a fight, Juno discovers a darker force is at play, and must battle much more than a nasty dealer and her cronies to get to the truth.

Why We're Excited: I love when I read a synopsis that sounds intriguing, but I can’t quite picture the film in my mind.  “Junction Row” promises sci-fi action and cosmic horror from a script from horror authors Adam Cesare (“Clown in a Cornfield”), Matt Serafini, and director Ashlea Wessel making her feature debut.  I feel a big swing coming on and I’m here for it.

“Trauma, Or Monsters All”

Synopsis: The upstate New York town of Talbot Falls has been trying to put the horrific events of two years ago behind it, but that trauma gets stirred up again by the arrival of an outsider. Cassandra Lily-Jackson (THE PITT breakout Laëtitia Hollard) has moved in to work on a book about George Washington Carver, but soon a more immediate subject piques her curiosity. Strange sounds and a scarred man issue forth from the house next door by night, inspiring her to write an article for the local paper speculating about “local monsters.” Turns out, she’s right: Adam (Alex Breaux), a patchwork man created by science, and Charley (Alex Hurt), afflicted with lycanthropy, dwell in that house. And when the article goes viral, it attracts the vampiric Sam (Larry Fessenden), assorted other people from the creatures’ pasts, and the enmity of the residents, who don’t appreciate Talbot Falls’ dark past being dredged up again.

Why We’re Excited: Look, I don’t know what a Larry Fessenden monster team-up film looks like.  I never thought I’d ever see a Larry Fessenden monster team-up film.  But if you’re telling me that Larry Fessenden, the distinguished indie horror mogul and certified director least likely to have a shared cinematic universe, made a movie combining his versions of the vampire, werewolf and Frankenstein stories into one film, I want to know what that looks like right away.

“Buddy”

Synopsis: Trapped inside the off-kilter world of a ’90s children’s television show, a young girl (Delaney Quinn, IF I HAD LEGS I’D KICK YOU) and her friends fight to escape a bloodthirsty, control-freak dinosaur mascot named Buddy (Keegan-Michael Key, KEANU). This is his world. They’re just (barely—and not always) living in it. Buddy can bend time and space. When wounded, he can heal himself. The show has gone on for years, through generations.

Why We’re Excited: Casper Kelly, man.  After “Too Many Cooks” and the “Fun Size” segment from the latest and greatest “V/H/S Halloween,” I’m interested in whatever he wants to do. With a cast that includes Cristin Milioti, Patton Oswalt, Michael Shannon and Topher Grace, and a villain described as a “psychotic Barney with magic powers,” it sounds like his most ambitious project yet.

Matt’s Picks!

“City of War” (1998)

Synopsis: Two cops--both partners and best friends--find their friendship and their lives at stake when they try to take down a ruthless drug dealer.

Why We’re Excited: Radial (formerly Shout! Studios) has been unleashing waves of Hong Kong action films that have long been stranded on DVD or, in some cases, VHS. Thankfully, we’re living in one of the best timelines for physical media, and one of our favorite things about Fantasia is how much of an emphasis there is on showcasing older films, usually with some kind of new restoration; such is the case with “City of War,” which is an underseen Chow Yun-Fat film we can’t wait to get our eyes on!

“Attack on Paradise”

Synopsis: After seven years in prison, Suleyman is released and determined to pick up his life again. During his incarceration, his home, the flat block ‘Paradise’, has been taken over by gangs and drug dealers. When the police decide to raid Paradise, Suleyman gets caught in the violence, with only one goal: to get back to his mother and get her to safety. Alongside rookie police officer Yasmine, Suleyman battles his way up, floor by floor.

Why We’re Excited: After “The Furious,” which is out now on VOD and you should absolutely see, our blood is pumping for more knuckle-crunching action and “Attack on Paradise” sounds akin to “The Raid,” but with a Belgian twist! Honestly, we are going into this one as blind as possible so we can be fully jacked up with the surprise.

“Her Private Hell”

Synopsis: Set in a fog-basked futuristic city that curves, arches, juts, and glows like pathways into the subconscious, “HER PRIVATE HELL” opens in a towering, empty hotel. We meet Elle (Sophie Thatcher, YELLOWJACKETS, COMPANION), the daughter of decadently successful filmmaker Johnny Thunders (Dougray Scott, MY OXFORD YEAR, MISSION IMPOSSIBLE 2), who sees in her the elements of himself that he most loathes. Elle’s relationship with her once-lover-now-stepmother Dominique (Havana Rose Liu, LURKER, BOTTOMS) is… difficult. Into this circle enters ingenue actor Hunter (Kristine Froseth, SHARP STICK, THE BUCCANEERS), who’s elated to be working with everyone and welcomes any pain that may come. And pain is indeed coming. The mist that permeates this city is known to bring out a ghostly serial killer with flesh-cutting, diamond-studded gloves. Also coming out of the fog is an American GI, Private K. (Charles Melton, MAY DECEMBER, RIVERDALE), who appears to exist in a realm decades past, on a violent mission to find his disappeared daughter… whom he suspects may be in hell.

Why We’re Excited: Nicolas Wending Refn is an auteur through and through, and that means that his work is both divisive and illuminating in equal measure. His latest feature seems to be right up our alley in terms of being transgressive, drenched in neon, and high on weird vibes. Not only is this film one of our most anticipated, but NWR will be receiving the CHEVAL NOIR CAREER ACHIEVEMENT AWARD as part of this year’s festivities!

“Rubberhead: The Life & Monsters of Steve Johnson”

Synopsis: 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.

Why We’re Excited: Horror documentaries are like pringles in that once we pop one in, we can’t stop until it’s over, and Steven Johnson is a perfect person to be the focus of an intimate exploration of the life of a make up effects artist. This isn’t just a puff piece about Steve’s great work, of which there are many examples, but also an intimate look into the life of a person dealing with addiction while at the top of their game and trying to stay in the business they love. We can’t wait to see this, and we feel quite confident it will be on our best of list later this year if it’s as good as it looks!

“Insectasy”

Synopsis: Blurring the line between waking and sleeping life, “INSECTASY” indulges in the viscerally gross to examine a deep-seated loneliness endemic to Sadie’s experience, but also deeply relatable. Without spelling things out, the film feels like a real product of the post-pandemic world. Marked by isolation and paranoia, the world feels anxious, out of balance. The world of “INSECTASY “is one saturated with sex; people talk about sex almost incessantly, but it lacks in the erotic. Characters discuss their sex lives, there’s a dullness to it; a kind of rehearsed parroting of podcasts and TV characters. The openness belies real eroticism, evading real or even destructive desire. Sadie’s interior world, not unlike Séverine’s in BELLE DE JOUR, breaks down barriers and acts as a disruptive force against the status quo. As Sadie, Tirion Healy gives an eyes-first performance that is reserved, trembling with interior violence. She conceals below her cool exterior an unbridled lust. For fans of Argento’s PHENOMENON and Lucky McKee’s MAY, INSECTASY is for the lonely perverts who’ve always wanted to be annihilated by the weight of their desire. – Justine Smith

Why We’re Excited: You had us at “Argento” and “Lucky McKee” and that’s really all we needed to know we would be seated. This seems weird, sexy, and haunting beautiful and very few expectations going in so we can be immersed in this fascinating world.

“The Last Footage”

Synopsis: Once the sun has set on cursed Wingabar Forest, and eerie howls pierce the night, the events of “THE LAST FOOTAGE” unfold in almost real time. That, the first-person perspective, and the absence of conventional horror-movie gimmicks (rapid edits and bass-heavy scores, not to mention gratuitous gore and cruelty) make “THE LAST FOOTAGE” something more like an immersive work of in-situ theatre. Or perhaps more accurately, like a gleeful romp with friends through a haunted-house attraction at a regional fair, with various creepy creatures leaping suddenly out of the darkness.

Why We’re Excited: The war that’s been going on in Myanmar and the genocide of the Rohingya people is terrifying in and of itself, and while we mourn for the massive loss of life we also celebrate the opportunity to watch genre films coming out of Myanmar which are largely not covered here in the West. Southeast Asian horror is unpredictable, and we can’t wait to see what “The Last Footage” has in store.

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The term “Lynchian” often gets thrown about with the same kind of reckless abandon as beach volleyball and has become a catch-all term for abstract cinema. While I’m not going to call into question how anyone labels something, I don’t think it’s a stretch to say that the term, like any other, can be misappropriated and overused. While there’s no harm in this kind of labeling per se, it does diminish the intent of the categorization if the label becomes too divorced from its original meaning. In “A Yard of Jackals,” a Chilean period piece from writer/director Diego Figueroa, the term Lynchian is used to describe this tale of neighbors up to no good, but does that label do the film a disservice?

WHAT’S IT ABOUT?

Follows a modest middle-aged man whose neighborhood's peace is disrupted when a gang of menacing neighbors takes over the street.

HOW IS IT?

“A Yard of Jackals” is a lot of things, but Lynchian is a bit of a stretch. The story revolves around Raúl (Néstor Cantillana), a lonely man who cares for his aging mother and makes ends meet by building architectural models for the Chilean government and military. The thing is, it’s 1975, and if you don’t know your Latin American history, this is during the reign of Augusto Pinochet Ugarte, a dictator who ruled over the country until 1990. That historical context matters, because without it viewers may not fully grasp the conditions under which the film places its characters, and the gravity of those decisions. Sure, it becomes apparent as the film progresses. Still, the ideal viewing experience will likely require the audience to have a basic understanding of the time period to get the full experience.

Having covered a litany of post-Franco films in Severin’s “Exorcismo” box set, the idea of films taking place under authoritarian rule isn’t just timely; it’s perpetually fascinating. In “A Yard of Jackals,” we get a more intimate look at a period of time that doesn’t get as much attention these days in historical media, fiction or non-fiction. Raúl is a sympathetic character because he’s simply a man trying to care for his dying mother under conditions that are less than hospitable. People live under fear, and with an enforced curfew, Pinochet’s secret police will not just take you, but torture and kill you. Raúl’s only “friend” is also a romantic interest, Laura (Blanca Lewin), a woman who owns the local grocery store with her daughter, Renatta (María Jesús Marcone), but when a group of neighbors moves in next door to Raúl, he begins to hear awful screams coming from the apartment, and the realization that his new neighbors are behind some atrocious violence.

Similar to a film like “The Zone of Interest,” “A Yard of Jackals” isn’t about the violence we see, but the violence we hear. The film creates masterful tension with a claustrophobic environment as Raúl becomes more aware of the things happening next door. Cantillana’s performance is perfection and epitomizes a man who is trying so hard to blend in, but at the same time fighting the desire to do something about the torturous acts happening in his neighborhood. Like many living under authoritarian rule, the simple act of doing something good can be an act of rebellion that puts a target on your back, and Cantillana displays that vulnerability masterfully. Lewin also turns in a great performance as Laura, and acts as the yin to Raul’s yang as she tries feigns affection for him while also feeling somewhat sorry for him. The film is at it’s best when the two of them are cut in palpable sexual tension, as it provides a more visual metaphor for the kind of life lived in secrecy that the film’s atmosphere puts forward.

However, putting aside the tension and performances, “A Yard of Jackals” does leave a bit to be desired in some ways. The first being that this isn’t by any means what I would call, “Lynchian,” despite a twist in the third act that could be perceived as such. In this author’s opinion, Lynchian films are ones where meaning is abstract and reality is contorted like a funhouse mirror; never morphing reality entirely, but warping it enough to make the familiar feel foreign. It’s about feeling displaced and lost, but none of that appears to be the case in “A Yard of Jackals”.” The final act twist, aside from not making a ton of sense, feels unnecessary to tell this particular story and further distracts from the more interesting historical aspects of the story. It’s not enough to bring the film down entirely, but it does leave you wanting despite having almost 2-hours to tell this story.

LAST RITES

“A Yard of Jackals” works best as a tense piece of historical fiction about living under Pinoche’s authoritarian rule and how that upended the lives of the Chilean people. While it does veer into some non-linear storytelling and unearned twists, it’s still a somber slow-burning psychological thriller worth watching.

THE GORY DETAILS

“A Yard of Jackals” is currently available on Blu-ray from MVD Entertainment’s Webstore and other participating online retailers.

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The relationship between media and technology is ever-evolving. As real-world developments in how we interact with the gadgets in our lives change ever more rapidly, the media we consume is changing alongside it to reflect our feelings – as well as our anxieties. These explorations can occur on-screen; Movies such as “M3GAN” (2022), “The Ring (2002), and “Unfriended” (2014) all serve as examples of this trend. 

The exploration of new technology can also occur behind the scenes. Consumers of movies and television have seen numerous shifts in how we partake of our favorite media. We’ve seen the rise and fall (and if some of us get our wish, a resurgence) of drive-in movie theaters. We’ve shifted from renting VHS tapes at our local shop to streaming them on the latest apps on our smart TVs. For many of us, watching movies on computers perched on our laps has become more common, with some recent movies like “Undertone” (2025) being designed to be most effective in such settings. 

With the premiere of “Autonomous” (2026) on Screamify, writer Sean Overbeeke and director Kyle Valle lean into one of the newest ways of viewing media – Directly on your smartphone. Many of us with smartphones have been watching videos, clips, and even full movies on our phones for a while now. But with their new Micro Horrors series, Screamify is developing content explicitly designed, filmed, and intended to be watched in this manner. The question is, are we ready to go along on this ride with them? 

What’s It About? 

A couple boards a Gomo – a self-driving rideshare cab – only to find themselves trapped with no way out. 16 episodes of pure claustrophobic terror. 

What’s The Verdict? 

For the moment, let’s put the experimental formatting aside and focus on the story of “Autonomous”. With the full series clocking in at approximately 28 minutes, the pacing and style of this story had us thinking at times of the “Creepshow” (2019) series or the classic stories of “Tales From The Crypt” (1989). With little time to spare, the creators make short work of establishing their characters before taking them for one Hell of a ride (literally). We are big fans of this style of storytelling that combines pulpy fun with a hefty dose of social commentary. 

The duo at the center of this story, Amy (Erin Áine) and Derek (Domenic Jungling), embody many of the traits familiar to fans of classic horror. We meet them at one of their lowest moments, making them especially vulnerable to the horrors ahead. Considering the limited time we spend with them, both actors excel at the challenge of establishing themselves and the nuance of their relationship. Their interpersonal sniping, as well as their building fear, are grounded by strong performance. They are highly relatable, allowing the audience to empathize with them.

The threat this couple faces over the course of their fateful night is multifaceted and intentionally left ambiguous. Overbeeke and Valle provide enough breadcrumbs for us to begin to piece together a larger narrative, but leave it vague enough that few questions are truly answered. Some audiences might find the combination of technological terror and creature feature confusing, but we appreciated the ambiguity that this odd couple of threats brought to the narrative. Without giving too much away, we found the minimalist approach to special effects used throughout to be highly effective, forcing the audience to fill in many of the blanks while eliciting some of the B-movie fun we remember from the anthology series this story draws inspiration from.  

One of the most unique aspects of “Autonomous” is its setting. Valle and his team from Big Squid Films shot the entirety of this series inside of an actual driverless car, to the best of our understanding, while it was in motion. This self-imposed limitation allows the viewer to feel as if they are a part of the scenes. While an occasional shot may be a bit rough around the edges, the uniqueness of the shooting style pays off, and it is a testament to Valle’s creativity and skill that the production feels as professional as it does, given the tight confines.

The exploration of artificial intelligence and automotive technology in “Autonomous” blends well with the experimental way in which this series is being rolled out – and this brings us back to the Micro Horror of it all. Screamify is using “Autonomous” and other planned series in their Micro Horror library to capitalize on shifts in how viewers consume media. We see these shifts particularly in younger audiences. A quick search of relevant statistics shows that 75% of people aged 14 to 29 (Generation Z) identify their smartphone as their “device of choice.” 25% of this cohort report spending more than 5 hours a day on these devices.

The audience is clearly there. We can’t fault any company for following the data, but from a critical perspective, we didn’t find much benefit to viewing “Autonomous” in this format. The series is split into sixteen ‘chapters’ ranging from one to three minutes in length and designed to be viewed vertically on one’s smartphone. We won’t use this space to debate the public health or ethical questions this kind of media raises for us, but as a consumer of the narrative, we found it to be a somewhat meaningless distinction. We took in the story of “Autonomous” in one sitting. It is difficult to imagine any benefit to having stepped away in between chapters (though perhaps then that pile of unfolded laundry wouldn’t be side-eying us from the other side of the couch). At best, we found the Micro Horror format of “Autonomous” to be negligible. At worst, it may disrupt the audience’s enjoyment of the well-crafted story created by these talented filmmakers.      

Final Thoughts: 

Our viewing of “Autonomous” is complicated by the new trend it is attached to. At the risk of fully embracing our role as the old man yelling at clouds, we are skeptical of companies not just embracing, but encouraging viewers to view media in bite-sized chunks. That said, it is probably not this reviewer’s role as a millennial (an elder millennial at that!) to dictate best practices for consuming media to the next generation. Taken at face value, Overbeeke and Valle have crafted an enjoyable cautionary tale of technological terror. “Autonomous” takes creative risks behind the camera that pay off in creating a uniquely shot short film. Whether to embrace the newest viewing trends or rail against them is a personal decision, but in terms of content, we are happy to go along for the ride with Big Squid Films, no matter how scary the journey becomes.

All episodes of “Autonomous” are currently streaming on Screamify here. 

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The Fantasia International Film Festival will celebrate its upcoming 30th edition with an electrifying program of screenings, workshops, and 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. The festival website is now live with the complete lineup of over 125 features and 200+ shorts available to be explored. Ticket pre-sales open at 10:00AM on July 3.

Fantasia is very pleased to reveal its massive final wave of titles, their numerous 2026 competitions, and selections of jurors – as well as this year’s plethora of special events, career awards, and artist talks!

CHEVAL NOIR CAREER ACHIEVEMENT AWARD: NICOLAS WINDING REFN

In the opening minutes of our 30th edition, Fantasia will award a Cheval Noir Career Achievement Award to the extraordinary Danish director, screenwriter, and producer Nicolas Winding Refn. A singular storytelling poet, gifted stylist, and boundary-pushing provocateur, Refn has been a transformative force in world cinema since bursting out of Copenhagen with the instant-classic crime drama PUSHER (1996), which simultaneously launched the careers of Mads Mikkelsen and Zlatco Buric. Over the 30 years that followed, he’s blessed us with such dark treasures as BLEEDER (1999), FEAR X (2003), PUSHER 2 (2004), PUSHER 3 (2005), BRONSON (2008), VALHALLA RISING (2009), DRIVE (2011), ONLY GOD FORGIVES (2013), THE NEON DEMON (2016), the Amazon series Too Old To Die Young (2019) and Netflix’s Copenhagen Cowboy (2023), and now, the immaculate HER PRIVATE HELL (2026), which celebrates its Canadian Premiere as our Opening Film.
 
Off-set, Refn has used his visibility throughout his career to champion underappreciated filmmakers whose work he admires, spearheaded intensive restorations, and curated retrospectives to re-contextualize neglected works. He’s created a coffee table book on exploitation poster art and even founded byNWR.com – a bespoke streaming home for multitudes of restorations he and his team initiate, which he runs as a living digital museum.
 
Join us in celebrating a filmmaker who’s given his absolute everything to cinema, in his talents as an artist, in his love as a curator and preservationist, and in his power as a spokesperson for renegade genre art. Nicolas Winding Refn has made the film world a better place for us all – and we love him for it.

CHEVAL NOIR CAREER ACHIEVEMENT AWARD: TAKASHI SHIMIZU

Born in 1972 in Japan’s Gunma Prefecture, Takashi Shimizu studied theatre in university before quickly establishing himself as a master of horror with the JU-ON saga, which began as a direct-to-video production where he served as the creator, screenwriter, and director. The first theatrical feature, JU-ON: THE GRUDGE (2002), became an instant classic of Japanese horror, influencing both regional and worldwide cinema thanks to its explosive success at the box office and on the festival circuit (including a screening at Fantasia 2003). Following this global triumph, Shimizu directed its first two American remakes in 2004 and 2006 and became the first Japanese filmmaker to top the U.S. box office. In addition to horror gems like MAREBITO (2004), REINCARNATION (2005), and SANA (2023), Shimizu has demonstrated his versatility with the live-action adaptation of the Ghibli children’s classic KIKI’S DELIVERY SERVICE (2014) and the sci-fi thriller HUMUNCULUS (2021). He also fosters young talent as an Executive Producer, having helped launch the careers of filmmakers such as Yuta Shimotsu (NEW GROUP, Fantasia 2025) and Eriko Katagiri (WHEN YOU OPEN THE DOOR, Fantasia 2026). Fantasia is proud to celebrate his career – while illustrating that he remains a prolific and pertinent director – with the World Premiere of VILLAGE OF EIGHT GRAVESTONES and the North American Premiere of THE MOUTHS.

OFFICIAL OPENING FILM: NICOLAS WINDING REFN’S HER PRIVATE HELL

Nicolas Winding Refn’s audacious return to feature filmmaking is a gorgeous, mysterious act of cinema, sensorial and transgressive, that demands to be experienced on its own terms. It emerges through spectral mist like dream transcriptions from the beyond, pulsating with psychic threads to Bava, Suzuki, Argento, and Vadim by way of Hans Christian Andersen, steeped in saturated primary colors and dripping with potent surrealism and mordant wit. Set in a fog-basked futuristic city that curves, arches, juts, and glows like pathways into the subconscious, HER PRIVATE HELL stars Sophie Thatcher (Showtime’s Yellowjackets, COMPANION), Charles Melton (MAY DECEMBER, The CW’s Riverdale), Havana Rose Liu (LURKER, BOTTOMS), Kristine Froseth (SHARP STICK, AppleTV’s The Buccaneers), and Dougray Scott (MY OXFORD YEAR, MISSION: IMPOSSIBLE 2). A hallucinatory fairy tale death trip inspired in part by its gifted maker’s own harrowing experience with death and resurrection, HER PRIVATE HELL is a deeply personal and obsessive film that explores memory and mortality, often through breathtakingly stylized Neo-Noir and Giallo film coding. Canadian Premiere.

OFFICIAL CLOSING FILM: ZACH LIPOVSKY AND ADAM STEIN’S FREAKS PART II

Following the 2018 sleeper-hit sci-fi indie FREAKS and 2025’s critically acclaimed, record-shattering FINAL DESTINATION: BLOODLINES, celebrated Canadian filmmakers Zach Lipovsky and Adam Stein return to their mutant roots with the hotly anticipated FREAKS PART II. Several years after a traumatic escape, we meet Mary (Amanda Crew, of HBO’s Silicon Valley and FREAKS) and her daughter Chloe (Lorelei Olivia Mote, of NBC’s Days of Our Lives and RIDDLE OF FIRE) as they live on the road, hiding their powers and identities. They are hunted by the Abnormal Defense Force, paramilitary police that specialize in ruthlessly exterminating “freaks” like them. Mary is fueled by revenge, determined to find the ADF officer (Lili Taylor, of THE CONJURING and OUTER RANGE) who killed her first child. There’s great chemistry between Crew and Mote as mother and daughter. There’s also inventive gore – the most we’ve seen in a Canadian film in years – that punctuates the outstanding performances and serious subject matter. Packing dazzling action and thrills, FREAKS PART II is a fierce anti-superhero thriller that skillfully conveys themes of police states, family, and finding your tribe. Cheval Noir Competition. World Premiere.

CELEBRATING HORROR MASTER TAKASHI SHIMIZU WITH THE PREMIERES OF HIS TWO LATEST WORKS

“VILLAGE OF EIGHT GRAVESTONES”

Following the death of his mother – whom he hadn’t seen in years – young Tatsuya decides to visit the rural village where she lived. Along the way, he encounters private detective Kosuke Kindaichi, who had been searching for him at the behest of the Tajimi clan – a family burdened by a dark past. Tatsuya’s grandfather had once committed a gruesome massacre that left a deep scar on the villagers; consequently, they are now, to say the least, hostile toward Tatsuya and his family. When death strikes the locals once more, Detective Kindaichi must quickly find answers before the situation boils over. Takashi Shimizu, legendary creator of the JU-ON saga, delivers an entertaining, bloody horror thriller populated by eccentric characters and bizarre rituals. He brings to life the legendary Detective Kindaichi – a character created by author Seishi Yokomizo and featured in no fewer than 77 novels – while dropping visual and auditory clues for the audience to piece together the mystery behind the unfolding killing spree. VILLAGE OF EIGHT GRAVESTONES is fascinating folk-horror packed with tons of startling surprises. World Premiere.

“THE MOUTHS”

A rumor circulates about a cursed tree standing in the center of a supposedly haunted cemetery and a group of university students decides to tempt fate by visiting this legendary spot in the dead of night. Their courage quickly wavers in the face of the location’s eerie atmosphere and the deafening sound of cicadas. Things rapidly spiral out of control for the quartet as a waking nightmare, filled with ghostly figures and sudden disappearances, unfolds. Their recklessness comes at a price far steeper than they ever imagined. “What happened that night?” That’s the mystery the viewer must unravel in this terrifying new film by Takashi Shimizu (the SANA trilogy), brilliantly adapted from the novella A Questionnaire About the Mouth by renowned author Sesuji. Shimizu further cements his place in the pantheon of J-horror with a well-paced feature that relies more on genuinely unsettling supernatural apparitions than excessive jump scares. Fans of atmospheric horror will relish the excellent THE MOUTHS and its mind-bending, nerve-jangling finale. North American Premiere.

“ATTACK ON PARADISE” IS A FEROCIOUS ACTION SPECTACULAR

Blasting full-throttle out of Belgium, Bob Colaers’ ATTACK ON PARADISE is one of the most pulverizing action films in ages. Newly released after seven years in prison, Suleyman (Saïd Boumazoughe, REBEL) only wishes to return to Antwerp’s Paradise apartment complex and spend time with his ailing mother. But Paradise no longer lives up to its name and has become overrun with gangsters and addicts. Druglord Prince Hamza (Achmed Akkabi, MOCRO MAFFIA) has taken over, placed himself at the top floor, and made Paradise his personal fortress. Just as Suleyman arrives, the cops raid the building, with no qualms of its below-the-poverty-line tenants becoming horrific collateral damage. People are dying everywhere, and Suleyman only wants to keep his mother safe – but, to do that, he’s going to have to fight... Everyone... With anything he can get his hands on. Thrill seekers looking for mind-blowing fights and inventively staged, over-the-top action will have adrenalized fistfuls to enjoy, but what really makes ATTACK ON PARADISE stand out is star (and co-writer) Boumazoughe, who brings not just killer fighting skills and tremendous screen presence, but also makes Suleyman grounded and relatable, a genuine reluctant hero for today. World Premiere.

“GROTESQQQUE “IS A HIGHLY SENSATIONAL COLLECTION OF WORKS FROM ATSUSHI NISHIGORI X CLOVERWORKS!

GROTESQQQUE is a completely original animation film from the brilliant mind of Atsushi Nishigori, known for his work as the director for THE IDOLM@STER and DARLING IN THE FRANXX, and Chief Animation Director behind, EVANGELION: 3.0+1.0 THRICE UPON A TIME, the smash hit that sparked a social phenomenon. This electrifying film embodies Nishigori’s ambition to create something he’s passionate about, with as much passion as he wants. Comprised of three episodes – “A(E)LIENS”, “YOROSHIKU★Girl”, and “NOCTURNE: NUIT GROTESQUE” – these distorted, uneven, yet infinitely beautiful stories melt together like a chimera, galvanized into motion by the enthralling original score accompanying the film. This poppy, edgy fusion of imagery and sound creates a unique world pulsing at the seams. Filled with aliens, gyarus (gals), and vampires… Atsushi Nishigori’s story of “GROTESQQQUE” girls is about to unfold! Animation Plus Section. World Premiere.

A QUIRKY ENSEMBLE CAST AND A SURREAL CRIME CAPER CHARMS IN SETH A SMITH’S “PERMANENT DAMAGE”

After world-premiering his debut feature LOWLIFE at Fantasia 2012, Seth A Smith returns to our screens with another look at humanity through a surrealist lens. Along with his debut feature, which takes on addiction, Smith tackles topics affecting society – TIN CAN (Fantasia 2020) and THE CRESCENT approach the pandemic, grief, and parenting in haunting ways. This time, the filmmaker puts his stamp on the housing crisis with PERMANENT DAMAGE. Full of madcap charm, this story of escaped convict Tommy Gods, battling a cruel landlord, becomes a surreal caper. Starring a surprisingly tender Calem MacDonald (KIDS VS. ALIENS, Netflix’s The Umbrella Academy), Olivia Scriven (Degrassi, MRS. AMERICA), and a gnarly Stephen Dorff (BLADE, HBO’s True Detective), with a cameo by Stephen McHattie (300, WATCHMEN), you’re about to witness one of the quirkiest ensemble casts since REPO MAN! Septentrion Shadows Section. World Premiere.

“WHEN YOU OPEN THE DOOR” IS A WEREWOLF MOVIE LIKE YOU’VE NEVER SEEN

Miki, a 27-year-old working in an architectural firm, wakes up in her small apartment, pulled out of her sleepy memory. Her world is quiet and strange, but will soon be interrupted by a transformative experience spurred by a half-remembered wolf bite. As Miki searches for answers, she soon finds herself drawn into the woods and to the center of a ritual at a shrine cared for by elderly maidens. Director Eriko Katagiri was the recipient of the Japan Horror Award, a prize previously won by the director of NEW GROUP and BEST WISHES TO ALL, and her film tackles feminine isolation and alienation in a unique and powerful way. Viewers who allow themselves to be carried into Miki’s mind will find themselves pulled into one of the most unique werewolf stories ever put to the big screen. Cinematographer Akiko Ashizawa (TOKYO SONATA, CREEPY), Kiyoshi Kurosawa’s frequent collaborator, lends the film a unique visual identity, creating images built in ephemera, silhouettes, shadows, and nature. WHEN YOU OPEN THE DOOR isn’t just a great film; it’s the announcement of a bright new talent. Underground Section. World Premiere.

CHARMING AND DELIGHTFUL, “REGARDS PARALLÈLES” IS POETIC QUEBEC CINEMA

Jean-Jacques, Félicien, and Madeleine steal a car in a desperate attempt to escape their reality, only to find their pursuit of freedom unravel into an absurd, tender, and tragic journey. A much-welcomed UFO over the Quebec cinema landscape, REGARDS PARALLÈLES is the sophomore feature of Montreal filmmaker Vincent Bonin-Arena, following his Berlinale-selected debut NOUVELLE PERSONNE. A film that delights in constantly taking the viewer by surprise and unravelling conventions of the genre, it further signals the arrival of a major talent to follow. Think of 60’s Jean-Luc Godard mixed with André Forcier with poetic dialogue, inspired photography, and absurdist humor. The portrait of a generation without a sense of direction, but with hearts still full of love, hope and dreams. Starring Inès Defossé (APRÈS LE DELUGE), Maxime Genois (HUNTING DAZE), and Mattis Savard-Verhoeven (DEATH DOES NOT EXIST). Les Fantastiques Week-Ends Du Cinéma Québécois Section. World Premiere.

HISTORY MEETS MYSTERY IN “THE SAMURAI AND THE PRISONER”

Arioka Castle proves resilient against siege from outside, but within its walls, a succession of baffling events threatens the resolve of its defenders. Four impossible occurrences, one for each season. Signs of divine intervention – or perhaps a very human conspiracy? To unravel these puzzles, Lord Murashige (Masahiro Motoki, DEPARTURES) must enter into a contest of wits with a man he’s chained in his own dungeon, the brilliant strategist Kanbei Kuroda (Masaki Suda, DON’T CALL IT MYSTERY). With CURE and PULSE, definitive early titles in the ‘90s J-horror wave, Japanese director Kiyoshi Kurosawa proved himself a preeminent fright-meister with a knack for psychological chills, but he’s since applied his distinctive flavor to drama, science fiction, action, romance, and espionage. With his latest film THE SAMURAI AND THE PRISONER, adapted from Honobu Yonezawa’s prizewinning 2021 novel, Kurosawa explores the genre of jidai-geki, or the Japanese period film, and cradles within it a clever and outlandish mystery. The historical setting suits the filmmaker’s penchant for patience and precision, and its confounding intrigue keeps with his love of complex mind games. North American Premiere.

MARK H. RAPAPORT RETURNS TO FANTASIA WITH THE HORRIFICALLY DREAMY “GODHEAD”

In 2023, Fantasia fell in love with HIPPO, Mark H. Rapaport’s electrically weird coming-of-age debut feature. With his sophomore effort, GODHEAD, Rapaport plunges us back into his wickedly strange imagination, re-teaming with his HIPPO star Kimball Farley. This equally baffling and engrossing film examines the intertwining blood structures where fanaticism and obligation meet. The film follows eccentric twins (Farley and Sarah Coffey) who proclaim themselves prophets, blurring reality and delusion as they draw a priest into their supposedly divine mission. A darkly comic work that examines the limits of dogmatic belief, the film’s formal identity reflects themes of unreal truth and fanaticism in an increasingly fragmented world. Claustrophobic and uncertain, GODHEAD pulls us into the headspace of religious indoctrination. It’s an offbeat film for our offbeat audience, and a movie for the freaks trying to find their place in this unforgiving world. World Premiere.

ASHLEA WESSEL’S FEATURE DEBUT BRINGS CREEPY CREATURES, PTSD, AND PLENTY OF ACTION IN “JUNCTION ROW”

Ashlea Wessel has directed festival-favorite shorts like 2018’s TICK and 2020’s WEIRDO, and rounded them out with segments in the 2024 horror anthology CREEPY BITS. Now, audiences can see the World Premiere of her feature debut, JUNCTION ROW. Canadian horror icon Katharine Isabelle (GINGER SNAPS, AMERICAN MARY, BACKROOMS) is Juno, a recovering addict who leaves a fringe housing compound for a better life, leaving her beloved Ruby (Natalie Brown, of FX’s The Strain and THE BREACH) behind. When she learns that Ruby has gone missing, Juno returns, only to find Junction Row has become a hotbed of criminal activity, but she encounters much more than menacing drug dealers on her mission to find Ruby. Isabelle continues to be a crowd-pleaser as an action star, and supporting roles by Glen Gould (Paramount+’s Tulsa King, AT THE PLACE OF GHOSTS) and Kyle Mac (Netflix’s Between, AppleTV’s Government Cheese) don’t disappoint. With distinct Lovecraftian dread, this creature feature, penned by Adam Cesare (CLOWN IN A CORNFIELD), Matt Serafini, and Wessel, conjures a story where the fear of the unknown isn’t confined to what lies above, but what waits beneath. Septentrion Shadows Section. World Premiere.

WHO WILL DIE FIRST IN MYANMAR CHILLER “THE LAST FOOTAGE?”

Aside from a small handful of arthouse dramas screening at Locarno and such, the national cinema of politically isolated, conflict-plagued Myanmar remains all but invisible outside its borders. Few are aware of its lively, low-budget genre-film scene, circulating mostly online or on VCDs, but writer/director Arkar Soe Oo aims to change that with his innovative feature THE LAST FOOTAGE. Myanmar’s first found-footage horror film, shot entirely in first-person POV, is possibly the first Burmese chiller to hit the global genre-festival circuit. The events of THE LAST FOOTAGE unfold in almost-realtime, as the sun sets on the haunted Wingabar Forest and eerie howls pierce its night. That, the first-person perspective, and the absence of conventional horror gimmicks (rapid edits and bass-heavy scores, not to mention gratuitous gore and cruelty) make THE LAST FOOTAGE feel more like an immersive work of in-situ theatre. Or perhaps more accurately, like a gleeful romp with friends through a haunted-house attraction at a regional fair, with various creepy creatures leaping suddenly out of the darkness. World Premiere.

A HILARIOUSLY QUEER APOCALYPSE IN “JIM QUEEN”

Paris’ ultimate gay icon, Jim Parfait, reigns supreme over a world of adoring fans, fierce rivals, and impossibly sculpted bodies; until a mysterious STI begins transforming gay men into heterosexuals! As muscles disappear and social hierarchies collapse, Jim embarks on a wild, campy quest to find a cure before his life falls apart completely. The first feature from Bobbypills, Europe’s pioneering adult-animation studio, JIM QUEEN delivers a colorful, outrageous, and unapologetically Queer adventure from directors Nicolas Athané and Marco Nguyen. Beneath its gleeful barrage of kink, karaoke, and absurdist comedy lies a sharp satire of exclusion, identity, and liberation within contemporary Queer culture. Vibrant animation, infectious energy, and a killer soundtrack make this a future cult favorite. Animation Plus Section. North American Premiere.

“UNIDENTIFIED MURDER” IS A KILLER HONG KONG GENRE-BENDER

25 years ago, a child named Tang Chi-Ho went missing at Tung Tau Hill. There was a glimpse of a mysterious beam from the sky, and then suddenly he vanished. There were a few theories, including the one in which he was abducted by aliens. Police officers tried their best to find him, but no luck. Years later, an influencer couple returns to the same location where this unfortunate event took place to film a prank video... What could go wrong? Jack Lee Chun-Kit and Kwok Ka-Hei’s UNIDENTIFIED MURDER is an absurdly entertaining black comedy that masterfully combines humor and mystery in a way that feels totally unique and fresh. Nominated for Best Screenplay, Best Supporting Actor, and Best Director at this year’s Hong Kong Film Awards, it is one of the biggest and most surprising discoveries this year – if you aren’t already a fan of zany and wonderful Hong Kong cinema, you will be! Cheval Noir Competition. North American Premiere. 

SEX, INSECTS, AND LONELINESS IN ANGUS SILVER’S “INSECSTASY”

Bathed in the glow of Dario Argento’s PHENOMENA and Lucky McKee’s MAY, Angus Silver’s INSECSTASY is for all the lonely perverts who’ve always wanted to be annihilated by the weight of their desire. A homage to 1970s erotic thrillers with a touch of creepy-crawly, INSECSTASY carries an offbeat, dark sense of humor and a violet-cast color scheme. Piercing the sterility of contemporary life with the disruptive transgression of eroticism, Silver’s film features dreamy fantasy sequences that interrupt and disrupt, drawing us expertly into its characters’ sensual and unusual interiority. Underground Section. World Premiere.

“A NEW DAWN” ELEVATES THE ARTISTRY OF ANIME 

Tomorrow, the Obinata family’s fireworks factory will be shuttered and demolished to make way for modern progress. Today, the two Obinata brothers and their childhood friend Kaoru are reunited after several years apart. Sentaro has asked her to help him get stubborn Keitaro to leave the premises as ordered, but Keitaro has other, very spectacular plans. An art-department veteran of films from Makoto Shinkai and Sunao Katabuchi, director Yoshitoshi Shinomiya is a traditional painter by training. In striking contrast to the slick, digital tools employed ever more frequently in Japanese anime, Shinomiya’s use of raw, hands-on techniques and remarkable lo-fi animation hacks informs and enriches his feature-film debut, A NEW DAWN, as does input from the French wing of his team in this intercontinental co-production. Together they’ve made a film of exquisite, even transcendent beauty, and turned this touching tale of ordinary lives into something truly extraordinary. A NEW DAWN premiered in official competition at the 76th Berlin International Film Festival earlier this year, and Fantasia is proud to bring the film to audiences on our continent. Animation Plus Section. North American Premiere.

“BUDDY” IS ON THE LOOSE, AND SLASHING HIS WAY TO CANADA

A brave girl (Delaney Quinn, IF I HAD LEGS I’D KICK YOU) and her friends must escape a kids’ television show, stalked by a homicidal mascot (Keegan-Michael Key, KEANU) in the wickedly deranged Sundance sensation BUDDY, the long-coming feature theatrical debut from Casper Kelly (TOO MANY COOKS, ADULT SWIM YULE LOG). Inspired in part by the filmmaker’s own childhood envy of the kids who got to live in the worlds of his favorite children’s shows, before he began to question their presented realities. A remarkable achievement in gonzo world-building, inventively shot, meticulously designed, and bubbling with imaginative scenarios that frequently re-invent themselves, BUDDY lands with singular impact, its conceptual outrageousness grounded by a terrific lead performance from the always-strong Cristin Milioti (HBO’s The Penguin) and a sharp supporting cast that includes Topher Grace (BLACKKKLANSMAN), Michael Shannon (THE SHAPE OF WATER), and Patton Oswalt (RATATOUILLE). From the producers of WEAPONS and COMPANION. International Premiere.

KAZAKH HIT “SICKO” REVEALS HUMAN UGLINESS IN THE FACE OF MONEY

Happily married couple Azamat and Tancho live a carefree life until Azamat is forced to face his mounting debts. In desperation, they come up with a scheme to fake Stage 4 cancer for Tancho and raise money through crowdfunding. To their surprise, they go viral within days and collect enough money to pay off their debts, but are plunged into a journey of escalating madness. Directed by emerging talent Aitore Zholdaskali and featuring standout performances from Ayan Utepbergen (THE RISING HAWK), Dilnaz Kurmangali (ZHAZA), Azat Zhumadil (SHEKER), and Aida Kurmangaliyeva (BISHARASHKI), SICKO exposes the ugliness that emerges when people become consumed by money. Official Selection: Rotterdam Film Festival 2026. North American Premiere.

HAILED AS THE FUNNIEST FILM AT CANNES: “BLAISE”

Fans of cringe comedy will be in heaven with this unique, uncomfortable blast of adult animation, praised by Première Magazine as the funniest film at this year’s Cannes. Imagine a distinctly French take on Scandinavian “comedy of embarrassment” films, or a much drier Curb Your Enthusiasm. Directed by Dimitri Planchon and Jean-Paul Guigue (Arte’s Silex and the City), based on the former’s cult comic book, BLAISE is the story of the desperate-to-be-loved Sauvage family, voiced by Léa Drucker (INCREDIBLE BUT TRUE), Jacques Gamblin (CONNEMARA), and Timéo. What begins as a hilarious domino effect of social disasters, a comedy of manners and misunderstandings, blossoms into something distinctly more charged. You’ll die of embarrassment for these characters and the absurd, life-altering situations their neuroses land them in, yet BLAISE casts reflections that resonate more profoundly as its non-heroes make direly consequential choices out of a desperate need to feel even vaguely liked. Produced by Alexandre Gavras (NO OTHER CHOICE, THE SUCCESSOR). Animation Plus Section. North American Premiere.

“BEASTS CLUTCHING AT STRAWS” OFFERS AN EXPLOSIVE AND HILARIOUS BAG OF SURPRISES

A young streamer working at an internet cafe discovers a bag containing 100 million yen and must seize it for the sake of his family. Ebato, a corrupt police officer riddled with debt to a cruel yakuza and his botanical torture partner, is planning a massive fraud scheme. A prostitute beaten by her husband befriends a femme fatale colleague who seems to know the ropes of organized crime. The fates of all these disparate characters will collide in a mind-blowing fireworks display. BEASTS CLUTCHING AT STRAWS is a captivating neon-noir thriller and a delirious, cynical black comedy featuring several epic, manga-esque sequences. Supported by an exceptional cast led by Ouji Suzuka, the brilliant Hideo Jojo surpasses himself in terms of direction and ideas to make this adaptation of Keisuke Sone’s famous novel, winner of the prestigious Edogawa Rampo Prize, an instant classic. Cheval Noir Competition. North American Premiere.

PANICKED PARKING PANDEMONIUM PLAGUES “LA PLACE”

As anyone who’s ever had to drive in the city will know, parking space is a precious commodity. On a day that would have been like any other, Brigitte (Christine Beaulieu, L’OEIL DU CYCLONE, LA FONTE DES GLACES) and Jonathan (Maxim Gaudette, POLYTECHNIQUE, INCENDIES) arrive at a dinner party, only for a stranger to block their way, leaving them unable to park and stranded the road. The couple confronts the mysterious man (Benoit Gouin, QUÉBEC-MONTRÉAL), but something is amiss and Jonathan becomes increasingly affected. Louis Godbout’s latest feature, LA PLACE, is a tense, beautiful, and touching depiction of the ways the smallest interactions can snowball into unimaginable consequences and forever alter one’s destiny. Les Fantastiques Week-Ends Du Cinéma Québécois Section. North American Premiere.

“BOWELS OF HELL” WILL TWIST YOUR GUTS WITH HILARITY AND HORROR

For those who believe they’ve seen everything cinema has to offer, here comes Brazilian madmen Gurcius Gewdner and Gustavo Vinagre’s BOWELS OF HELL, unquestionably the grossest film of Fantasia 2026 – and also one of its wildest, most unpredictable, and hilarious. It’s not entirely a scatological humor fest, because BOWELS is also a surprisingly touching story about parents and children, and the struggle to focus on the people in your life that matter the most. It’s also filled with some of the most disgustingly inventive kills seen in any movie in some time, and it should come as little surprise that even the legendary Bruce LaBruce shows up at one point. When you gotta go, you gotta go... but in this film’s haunted São Paolo apartment complex, “go” means that your time is most certainly up! Produced by Rodrigo Teixeira, the Oscar-nominated producer of THE WITCH, I’M STILL HERE, CALL ME BY YOUR NAME, and THE LIGHTHOUSE, BOWELS OF HELL is an unexpectedly layered mix of family drama, social satire, cranked-to-eleven grossout horror, and poop jokes told with energy, wit, and style, coming to the continent after blowing minds and stomachs at the Rotterdam Film Festival. North American Premiere.

“BLISS: BEYOND THE EDGE OF TIME” COMBINES THE I CHING WITH SCI-FI TO EXPLORE HUMANITY AND TECHNOLOGY

Drawing inspiration from the I Ching (Book of Changes), the Taiwanese animated anthology BLISS: BEYOND THE EDGE OF TIME combines sci-fi with deeply rooted traditions and brings together six extraordinary directors to explore the relationship between humanity and technology from various perspectives. From limited time versus infinite bonds to a debate about what faith really is, this modern take on The Ship of Theseus examines humans’ self-righteous attempts to protect animals, reimagined soul-recalling rituals, and what it takes to face the end of the world with a rare sense of lightness. BLISS combines Eastern philosophy with modern speculation, offering thought-provoking reflections on the timeless questions that lie underneath technological change and questions how people navigate uncertainty in this rapidly changing world. Animation Plus Section. North American Premiere.

“TRISTES TROPIQUES” IS BRUTAL, UNRELENTING KOREAN ACTION ON AN EPIC SCALE

A group of abandoned children has been raised in the rainforest and trained to be killers by an organization run by the “Master.” Now they’ve grown up, but following an incident that strongly affects all of them, they start to become suspicious towards one another and swear bloody revenge. They must get ready for the biggest fight of their lives. Award-winning filmmaker Park Hoon-jung (V.I.P., Fantasia 2018; THE WITCH: PART 1. THE SUBVERSION, Fantasia 2018; and THE CHILDE, Fantasia 2023) returns to Montreal with a terrific ensemble cast, brutal gore, a gritty tone, and mind-blowing action sequences. TRISTES TROPIQUES is packed with exhilarating shootouts, top-notch swordfights, and everything you want in a revenge thriller. Fans of badass Korean genre cinema are in for a treat! North American Premiere.

“ROMIN” IS A GLOBETROTTING ADVENTURE THAT’S DISTINCTIVELY QUÉBÉCOIS

Romin (Anthony Dionne, CREATURES) stumbles upon a mysterious object in a Quebec forest. Together with his sister Maya (Rosalie Pépin, VACARME), his sketchy pal Jeff (Jassen Charron, IL ÉTAIT UNE FOIS LES BOYS), and his new classmate Booker (James Edward Metayer, NOÉMIE DIT OUI), Romin heads to a village in the north, following in the footsteps of a missing archaeologist to find out more about the artifact. It turns out that, having touched it, Romin is struck by a curse that will kill him unless he returns it to the cave from whence it came, in the Bahamas. Directed by actors Anthony Dionne and Jassen Charron, ROMIN is an INDIANA JONES-style adventure featuring plenty of suspense and action, including some truly astonishing stunts. Amid the various twists and turns, more serious themes, such as grief, are explored with great tact and care. World Premiere. 

“THE GALACTIC GHOUL” IS A PLAYFUL HOMAGE TO SPACE OPERAS

In his feature debut, Québécois filmmaker Simon Harrison embraces space with THE GALACTIC GHOUL, a roaring space opera about a great escape from a horrific prison planet under the rule of Queen Xaltalusia XXIII, played by Katherine Isabelle (GINGER SNAPS, BACKROOMS). In a film that aims for the heart with ingenuity and laughs, THE GALACTIC GHOUL is a playful low-budget/high-concept tribute to space operas and the endurance of the human spirit. Les Fantastiques Week-Ends Du Cinéma Québécois Section. World Premiere.

ADDITIONAL THIRD WAVE TITLES

AFTER SCHOOL (The Netherlands) – dirs. Merijn Scholte Albers and Tobias Smeets
There’s been a lot of talk about the lack of quality movie comedy these days, but the Netherlands did not get that memo, because AFTER SCHOOL is, to put it simply, utterly hilarious. Directors Albers (co-founder of the Dutch comedy YouTube channel Mastermovies) and Smeets (a co-writer on Fantasia 2025’s STRAIGHT OUTTA SPACE) have crafted a terrific tale of self-respect, public humiliation, friendship, and revenge that gets funnier – and nastier – as it goes. AFTER SCHOOL is so hilarious throughout that it may surprise you to learn that it’s also a sharp examination of toxic masculinity on all sides (yeah, really!). Canadian Premiere.

BAGWORM (USA) – dir. Oliver Bernsen
An anxious, socially inept doomer steps on a rusty nail and plunges into an acetaminophen-filled spiral of fungus, tetanus, and unintentional incelmaxxing. Stylishly grimy and gross-out hilarious, like a cross between the filthy comedy of RATS! and the uncomfortable sleaze of ALL JACKED UP AND FULL OF WORMS, BAGWORM will have you gagging and laughing with glee and disgust. Official Selection: Sitges Film Festival 2025, SXSW 2026, Calgary Underground Film Festival 2026. Quebec Premiere.

BLADES OF THE GUARDIANS (Hong Kong/China) – dir. Yuen Wo-Ping
A bounty hunter (Wu Jing) fights off other martial artists in the desert, in this rousing, dynamic wuxia adventure of truly epic proportions from legendary action choreographer Yuen Wo-Ping.
 
COCOON – ONE SUMMER OF GIRLHOOD (Japan) – dir. Yukimitsu Ina
Commissioned by NHK, Japan’s public broadcaster, to mark the 80th anniversary of the end of WWII, the first production from Sasayuri, a new studio founded by longtime Ghibli talent Hitomi Tateno, adapts Machiko Kyo’s tragic manga about the final days of war. On a tiny island at the very southern tip of the Japanese archipelago, life for wide-eyed San, her cool friend Mayu, and other girls brought there by the Army could almost be mistaken for paradise... but the awful truth isn’t far off. The enemy is coming, and some things will be lost forever. Animation Plus Section. Canadian Premiere.
 
COLONY (South Korea) – dir. Yeon Sang-ho
Fresh off its recent Cannes launch, Fantasia will showcase the Canadian Premiere of COLONY, the stunning new feature from celebrated South Korean genre auteur Yeon Sang-ho (TRAIN TO BUSAN, Fantasia 2016; SEOUL STATION, Fantasia 2016; and THE KING OF PIGS, Fantasia 2011). Se-jeong (Gianna Jun, of ASSASSINATION and MY SASSY GIRL), a biotechnology professor, attends a biotech conference that turns into blood-soaked terror, and a fight for survival against mindless, cannibalistic attackers infected with a rapidly mutating virus. Canadian Premiere.
 
DANCE FREAK (USA) – dirs. Alan Resnick and Robby Reckleff 
An infectious virus causes a pulsing, uncontrollable urge to move, dance, and destroy in this outrageous dark comedy about the power of dance and the violent alienation of contemporary life. From Alt-comedy legend Alan Resnick and his Wham City collaborator Robby Rackleff, who also co-stars, with a cast that includes Stavros Halkias (BUGONIA, LET’S START A CULT), Sarah Sherman (Saturday Night Live), and Conner O’Malley (RAP WORLD). Official Selection: Tallahassee Film Festival. Underground Section. Canadian Premiere.
 
DRAG (USA) – dirs. Raviv Ullman and Greg Yagolnitzer
Two sisters (Lizzy Caplan and Lucy DeVito) find themselves trapped in a remote house when one of them throws her back out during a robbery attempt and the owner (John Stamos!) unexpectedly returns in this twisted dark comedy from producer Danny DeVito. DRAG successfully takes a simple premise and goes the distance with it, well into unexpected places that keep twisting the knife and ramping up the sinister laughs. Official Selection: SXSW 2026, Overlook 2026, Bucheon International Fantastic Film Festival 2026. Canadian Premiere.
 
THE FOX (Australia) – dir. Dario Russo
In this darkly comic folktale, an affable foxhunter (Jai Courtney) encounters a talking Fox (voiced by Olivia Colman) who offers him an opportunity to transform his fiancée (Emily Browning) into the perfect woman. Riotously funny and brilliantly subversive, THE FOX pops with puppeteered animal characters and committed human performances from a cast that includes Damon Herriman, Claudia Doumit, Zlatko Burić and the voice of Sam Neil as an especially gruff magpie. Official Selection: Adelaide Film Festival 2025, SXSW 2026. Winner: Best Narrative Feature, Calgary Underground Film Festival 2026. Quebec Premiere.
 
THE JOURNEY TO GYEONG-JU (South Korea) – dir. Kim Mi-jo
For a mother and her three surviving daughters, what starts out as a mission of vengeance becomes an unpredictable and personal voyage of love, loss, and redemption. If LITTLE MISS SUNSHINE were told as a tale of retribution. Director Kim Mi-jo brilliantly mixes elements of family drama, dark humor, and revenge thriller into a surprisingly emotional and layered character-driven story. After her incredible performance in PARASITE, Lee Jung-eun brings poignant depth to her lead role here as a grieving mother. The bond she has with co-stars Kong Hyo-jin (CRUSH AND BLUSH), Park So-dam (SPECIAL DELIVERY), and Lee Yeon (JUVENILE JUSTICE) is truly special. Official Selection: Hawaii International Film Festival 2025. Canadian Premiere.
 
THE LEADER (USA) – dir. Michael Gallagher
Tim Blake Nelson (O BROTHER WHERE ART THOU, THE BALLAD OF BUSTER SCRUGGS) and Vera Farmiga (THE CONJURING, THE DEPARTED) give fervent performances as the leaders of the Heaven’s Gate cult in this penetrating study of the largest mass suicide in American history. Featuring Jim Parsons (CBS’ The Big Bang Theory, Broadway’s Titaníque) in an effective against-type role as the cult’s most loyal acolyte, this haunting and compelling saga of a nearly-30-year-old tragedy has painfully relevant things to say today about how susceptible minds can be twisted toward blind allegiance. Official Selection: Tribeca Film Festival 2026. Canadian Premiere.
 
MATAPANKI (Chile) – dir. Diego “Mapache” Fuentes
After gaining alcohol-fueled superpowers, Ricardo, a young punk from the outskirts, sets out to change society, but one brutal mistake will ignite an international conflict, with him at the eye of the storm. With aesthetic allusions to the great Gakuryu Ishii, MATAPANKI captures an underlying rage and – instead of fueling hatred –feeds into a radical spirit and creative energy that’s inspiring without being cloying. An absolute pleasure to watch with a crowd, this raucous, revolutionary work of cinema should inspire you to take to the streets and create the world you want to live in. Official Selection: Berlin International Film Festival 2026, Slamdance 2026, Fantaspoa 2026. Underground Section. Canadian Premiere.
 
PAPAYA (Brazil) – dir. Priscilla Kellen
Passionate about flying, a tiny papaya seed in the Amazonian forest must keep moving to avoid rooting. Through perseverance, she discovers the power of her roots, triggering a revolution that transforms her world and fulfills her dreams in an unexpected way. A stunning animated masterpiece by Brazilian filmmaker Priscilla Kellen, vibrantly colorful, profoundly moving, and resonant with ecological concerns, PAPAYA is a tale told without dialogue so as to be a feast for all. It’s an important film about the world we live in, the issues we collectively face and how a small seed could change the face of the earth. Mon Premier Fantasia and Animation Plus Sections. Canadian Premiere.
 
THE PERIL AT PINCER POINT (UK) – dirs. Jake Kuhn and Noah Stratton-Twine
In this beautiful, monochromatic absurdist comedy, a layabout sound recordist is sent to a remote island at the behest of the tyrannical filmmaker, P.W. Griffin. With a dash of THE WICKER MAN, a sprinkle of Guy Maddin, a hint of HUNDREDS OF BEAVERS, and a generous helping of Roger Corman, THE PERIL AT PINCER POINT is a delightfully eccentric love letter to British cinema. With an artisanal, handmade aesthetic and an improvisational spirit, filmmakers Noah Stratton-Twine and Jake Kuhn blend tactile ingenuity with gleeful absurdity to create a singular cinematic experience that makes going to the movies fun again. Official Selection: SXSW 2026. Underground Section. Canadian Premiere.

RECLUSE (USA) – dir. Henry Chaisson
When a sound recordist is summoned back to her childhood home to care for her father, a famous artist rumored to have dabbled in the occult, she must confront the unearthed demons of her family’s past and contend with the house’s dark, malevolent energy. The eerie feature directorial debut of Henry Chaisson (writer of ANTLERS and SERVANT) stars Sasha Frolova (THE EMPTY MAN), Toby Poser (MOTHER OF FLIES), Xander Berkeley (TERMINATOR 2: JUDGEMENT DAY), and Kimball Farley (HIPPO). Official Selection: Tribeca Film Festival 2026. Canadian Premiere.
 
THE SEOUL GUARDIANS (South Korea) – dirs. Kim Jong-woo, Kim Shin-wan, and Cho Chul-young
This thrilling, award-winning documentary recounts the events surrounding the imposition of martial law in Korea in December 2024, and the peaceful uprising of civilians against dictatorship. The film masterfully conveys the urgency, disbelief, and visceral fear of a new dictatorship felt by Koreans in that decisive moment, using footage from both inside and outside the walls of the National Assembly. Official Selection: Rotterdam Film Festival 2026, Hot Docs 2026. Documentaries from the Edge Section. Quebec Premiere.
 
WE’RE NOTHING AT ALL (Hong Kong) – dir. Herman Yau
Inspired by the 1998 Wuhan Bus Blast in China, Herman Yau’s WE’RE NOTHING AT ALL follows three men from different backgrounds whose lives connect after a Valentines’ Day bomb attack. The film continues the director’s longstanding commitment to presenting marginalized communities and the unseen struggles of sexual minorities with empathy and humanity. Official selection: Hong Kong International Film Festival 2026, Audience Choice Award. Quebec Premiere.

FANTASIA RETRO RETURNS WITH A BOLD ASSORTMENT OF RESTORATION PREMIERES, RARE PRINTS, AND SPECIAL SCREENINGS

Fantasia’s long-standing showcase of classic film restorations and rare 35mm screenings returns with big-screen showings of landmark works from Takashi Miike. Robert Lepage, Paul Morrissey, Johnny Wang Lung-Wei, Marcela Fernández Violante. Takeshi Koike, Tibor Takács, Chang Cheh, and more.
 
CITY WAR (Hong Kong, 1988) – dir. Sun Chung
Superstars Chow Yun-Fat and Ti Lung reunite on screen after the mega-success of A BETTER TOMORROW I and II, in this rarely seen Hong Kong action classic. Directed by veteran Shaw Brothers action maestro Sun Chung (HUMAN LANTERNS, AVENGING EAGLE), who was like a nasty wuxia Ringo Lam of the 1970s. CITY WAR is loaded with humor, strong characters, intense drama, and brutal, totally nuts gunfights. World Theatrical Premiere of Shout! Factory’s New 4K Restoration, Courtesy of Radial Entertainment and AGFA.
 
LE CONFESSIONAL (Canada, 1995) – dir. Robert Lepage
Robert Lepage’s landmark first feature is set in the 1950s, while Hitchcock was shooting I CONFESS, and the 1980s, when two brothers with nothing in common set out to find one of their biological fathers. A rarity in this digital age, the film will be presented as it should be, with an archival 35mm print. Special 35mm Screening celebrating Robert Lepage’s Denis-Héroux Award.

THE DELINQUENT (Hong Kong, 1973) – dirs. Chang Cheh and Kuei Chih-Hung
A young man’s fists erupt furiously against thugs in this classic, jointly directed by two legendary Hong Kong filmmakers: action legend Chang Cheh (5 VENOMS, ONE ARMED SWORDSMAN) and horror master Kuei Chih-Hung (KILLER CONSTABLE, BOXER’S OMEN). Filled with breathtaking action including a bloody, wild climax choreographed by Lau Kar-Leung (DRUNKEN MASTER 2) and Tang Chia (AVENGING EAGLE), who revolutionized the style of cinematic kung fu, this time with an extra edge of roughness. A true classic, now newly restored from the original negative, ready to blast with Shaw Scope excitement. World Premiere of Arrow Films’ New 2K Restoration.

FORTY DEUCE (USA, 1982) – dir. Paul Morrissey
New York City, 1982. Street hustler Ricky (Kevin Bacon, reprising his Obie Award-winning role) devises a plan to shake down a wealthy john (Orson Bean, BEING JOHN MALKOVICH) in order to make a drug buy in this vivid snapshot of a pre-gentrification NYC from legendary underground director Paul Morrissey (FLESH FOR FRANKENSTEIN), adapted from Alan Bowne’s off-off-Broadway play. Bacon proves in this early performance that he was a talent to watch, and his fellow hustlers are all memorably real and convincing. Difficult to see for decades, FORTY DEUCE has been newly restored, returning in full-grime glory. World Premiere of Vinegar Syndrome’s New 4K Restoration.

FULL BLAST (Canada, 1999) – dir. Rodrigue Jean
As the only factory in a small Acadian town is hit with an indefinite strike, a group of friends try to make a living and survive, notably by reforming their old band. But the bonds between them are no longer what they once were, in this town where time does not heal wounds. Rodrigue Jean’s debut feature film. Special Screening celebrating Louise Portal’s Denis-Héroux Award.

GOZU (Japan, 2003) – dir. Takashi Miike
Few names are as necessary to Fantasia’s 30th anniversary as that of Takashi Miike, Japan’s innovative master of marginal, often maniacal cinema, whose work was first introduced to the West with our 1997 North American Premiere of FUDOH. His enormous filmography is full of strange and startling material, but few of his films are as delightfully confounding as 2003’s GOZU. A gangster’s search for his boss’ missing body becomes an odyssey into deeply disturbing absurdity in this fever dream that defies deciphering. World Premiere of New Wave Films’ New 4K Restoration, Courtesy of Radiance Films.
 
HAYOP KA! (Philippines, 2021) – dir. Avid Liongoren
Fantasia is thrilled to revisit HAYOP KA!, a feature that could have been a gamechanger for animation in the Philippines, had it not had the misfortune of coming out just as the pandemic hit (Fantasia’s 2021 presentation of the film was relegated to an online screening), and only a limited lifespan on Netflix. Fortunately, the heroic preservationists at Deaf Crocodile have rescued the film from obscurity with a forthcoming Blu-ray release, and so director Avid Liongoren (whose new film ZSAZSA ZATURNNAH makes its North American debut at Fantasia this year) gets a proper festival screening at last. An energetic and affectionate satire of racy television soap operas, told with colorful, eye-catching cartoon animals, HAYOP KA! is a funny, sexy farce with a great big, throbbing organ... by which we mean its heart! Animation Plus Section. Special Screening, Courtesy of Deaf Crocodile Films.
 
HONG KONG GODFATHER (Hong Kong, 1985) – dir. Johnny Wang Lung-Wei
Imagine Peckinpah’s THE WILD BUNCH combined with John Woo’s films, but with nastier, sharper weapons and lots of kung fu. HONG KONG GODFATHER is a rarely-seen triad actioner with a totally bonkers bloodbath ending. Director Johnny Wang Lung-Wei, who was famous for playing baddies in many Shaw films (KID WITH THE GOLDEN ARMS, BOXER’S OMEN), also serves as action choreographer, writer, and supporting actor in his second feature, and goes all-out in this intense gangster tale filmed in the final year of Shaw Studios, when budgets were slashed but martial-arts creativity was still thriving. Unavailable and long out of print on physical media. Special 35mm Screening.
 
LES LOUPS (Canada, 2014) – dir. Sophie Deraspe
Élie (Evelyne Brochu), a young woman from Montreal struggling with an identity crisis, travels to a fishing village in the Magdalen Islands at the height of the ice melt, during the seal-hunting season. ANTIGONE, director Sophie Deraspe’s third feature, also stars Louise Portal. Special Screening celebrating Louise Portal’s Denis-Héroux Award.
 
METAL MESSIAH (Canada, 1978) – dir. Tibor Takács
The long-lost Canadian glam musical sci-fi gem returns to the screen. After learning of an evil rock promoter’s plan to use heavy metal to keep society sedated in a cycle of hedonistic pleasure, a stylish metallic alien arrives on Earth to save humanity and rock out! Running along a similar wavelength as PHANTOM OF THE PARADISE, but with the arthouse noir flair of ALPHAVILLE, Tibor Takács’ retrofuturist rock opera examines the power of political capitalism and its stranglehold on freedom, true pleasure, and individualism, as the film puts a magnifying glass to what we consume, where it comes from, and the hidden agendas behind mass media. From the director of THE GATE! World Premiere of Canadian International Pictures’ New 4K Restoration.
 
PONTYPOOL (Canada, 2008) – dir. Bruce McDonald
A brazen radio host (Stephen McHattie) and his team are besieged in their church-basement studio when their town falls victim to a language virus in Bruce McDonald’s bold and singular Canadian horror classic. Based on the acclaimed novel by Tony Burgess, PONTYPOOL is a film that relies on imagination, language, and the mystery of hive mentality, much like the radio play, WAR OF THE WORLDS. With a standout performance by the great McHattie (also on the Fantasia screen in this year’s PERMANENT DAMAGE) sharing the frame with his real-life partner Lisa Houle, PONTYPOOL embodies the spirit of independent filmmaking, exploring identity, reinventing the zombie, and signaling virality before it became a “thing.” Septentrion Shadows Section. Special Screening celebrating Bruce McDonald’s Canadian Trailblazer Award.
 
POSSIBLE WORLDS (Canada, 2000) – dir. Robert Lepage
George Barber is a mathematician caught up in a series of recurring dreams in which he encounters a mysterious woman whose identity changes from dream to dream. From Robert Lepage, POSSIBLE WORLDS is a genre film with implications that will keep you thinking long afterwards. Starring Tom McCamus, Tilda Swinton, Sean McCann, Rick Miller, and Gabriel Gasco. Special Screening celebrating Robert Lepage’s Denis-Héroux Award.
 
REDLINE (Japan, 2009) – dir. Takeshi Koike
REDLINE isn’t just a milestone memory for Fantasia, where it first screened 15 years ago. It’s an absolute anime classic, a one-of-a-kind whirlwind of super-charged thrills and a visual overload that demands a watch on the festival’s biggest screen. Based on a story by Katsuhito Ishii, maverick of punk-surrealist cinema, it was the first full feature from Madhouse Studio’s Takeshi Koike, who’d provided animated sequences for Ishii’s live-action films TASTE OF TEA and FUNKY FOREST: THE FIRST CONTACT. Combining Koike’s graphic style with the unleashed liberties afforded to Ishii and his co-writers by the animation medium, REDLINE is a rocking, shocking rager that stomps on the accelerator and pushes past all permissible limits. Animation Plus Section.
 
STUDIO Q (Mexico, 1980) – dir. Marcela Fernández Violante
In this meta-cinematic masterpiece from director Marcela Fernández Violante – who, at the time of its production in 1979, was just the third female feature director in the Mexican film industry since 1935 – a telenovela star (Juan Ferrara) finds himself trapped in the soap opera he acts in, with all attempts at connecting with external reality leading him back into the soap opera. An allegory about the impossibility of human agency reflected through the chaotic world of television, this ultra-rare, mind-bending treasure is often loving referred to as the cinematic grandmother of THE TRUMAN SHOW. World Premiere of Severin Films’ New 4K Restoration.
 
THRILLING BLOODY SWORD (Taiwan, 1981) – dir. Chang Hsin-Yi
An utterly ludicrous fantasy martial-arts movie from 1981 Taiwan, thought to be lost for nearly 40 years. THRILLING BLOODY SWORD is a wuxia version of MASTERS OF THE UNIVERSE meets Snow White and Seven Weirder, Non-Singing Dwarfs, infused with the same craziness as last year’s Fantasia gem BATTLE WIZARD and Tsui Hark’s classic ZU: WARRIORS FROM THE MAGIC MOUNTAIN, and some added kinkiness. Do you have the fortitude to dive into 90 minutes of psychedelic Ancient China, with flexible gravity and action set pieces designed by the legendary Chiang Sheng (5 DEADLY VENOMS)? World Premiere of Error 4444’s New 4K Restoration.

FANTASIA 2026’S INDIE MAVERICK, CANADIAN TRAILBLAZER, AND DENIS-HÉROUX AWARD RECIPIENTS

INDIE MAVERICK AWARD 2026: DON HERTZFELDT

Fantasia will be presenting our 2026 Indie Maverick Award to gifted U.S. filmmaker Don Hertzfeldt, the celebrated two-time Academy Award nominee whose landmark animated works include IT’S SUCH A BEAUTIFUL DAY, the WORLD OF TOMORROW series, ME, THE MEANING OF LIFE, ON MEMORY, BILLY’S BALLOON, and REJECTED. His work has played around the world, received hundreds of awards, and in 2014 made a special appearance on Season 26 of The Simpsons. GQ described his work as “simultaneously tragic and hilarious and philosophical and crude and deeply sad and fatalist and yet stubbornly, resolutely hopeful.” Hertzfeldt’s experimental animated short film REJECTED was nominated for an Oscar in 2001. Once a cult classic, it is now regarded as one of the most influential animated films ever made. REJECTED is credited with shaping Adult Swim’s brand of humor and the rise of surrealism in early 00’s animation, with Comedy Central noting the film “influenced an entire generation of filmmakers.” New York Magazine wrote, “If there is a single piece of media that inspired what we nebulously refer to as ‘internet humor,’ it’s probably REJECTED.”

CANADIAN TRAILBLAZER AWARD 2026: BRUCE MCDONALD

From his early days as an editor and cameraman to his iconic status as the director of HARD CORE LOGO, which celebrates its 30th year alongside Fantasia, Bruce McDonald has remained a beloved homegrown filmmaker for decades. His passion for the indie music scene shines ROADKILL, his cult classic HARD CORE LOGO, and THIS MOVIE IS BROKEN. His edgy book adaptations include THE TRACEY FRAGMENTS, written by Maureen Medved, and the Tony Burgess-penned PONTYPOOL, screening at this year’s Fantasia, and such other beloved works as HIGHWAY 61, DANCE ME OUTSIDE, TRIGGER, HELLIONS, WEIRDOS, and DREAMLAND. He has also guided the TV shows Heartland, Dark Matter, and most recently, the Amazon Prime horror series, From. The versatile director/producer has won 28 awards at TIFF, VIFF, and The Genies, to name just a few; directing indie hard-hitters Juliette Lewis, Robert Patrick, Henry Rollins, and Joey Ramone with the ease of a cordial neighbor who just happens to be a cinematic maverick. Fantasia is proud to present Bruce McDonald with a Canadian Trailblazer Award in recognition of his outstanding dedication to Canadian film and television. 

DENIS-HÉROUX AWARD: ROBERT LEPAGE

Robert Lepage is not just a multidisciplinary artist, but a true Renaissance man. He is simultaneously an actor, filmmaker, playwright, stage director, and founder of Ex Machina. He quickly developed an idiosyncratic theatrical style, creating such landmark plays as THE DRAGONS’ TRILOGY (1985), THE SEVEN STREAMS OF THE RIVER OTA (1994), THE FAR SIDE OF THE MOON (2000), and 887 (2015), as well as his spectacular touring productions for Cirque du Soleil – KÀ (2004) and TOTEM (2010) – and impressive stage designs for musician Peter Gabriel’s world tours. During a stay in the United Kingdom, Lepage was offered the chance to direct his first feature film. That project would become THE CONFESSIONAL (1995). His relationship with cinema proved fruitful, and he went on to make POLYGRAPH (1996), NÔ (1998), POSSIBLE WORLDS (2000), and TRIPTYCH (2013), in addition to acting in numerous others. Lepage’s films are genre films – or at least, they play with genre conventions to create unique works and genuine cinematic experiences.
 
Fantasia is proud to present a Denis-Héroux Award to Robert Lepage for a body of work that has brought Quebec to the forefront of the global stage. The Denis-Héroux Award recognizes the exceptional contribution of an artist or craftsman to the development, creation, or dissemination of Quebec genre cinema and independent cinema. The award will be presented to Robert Lepage prior to the screening of his first feature, THE CONFESSIONNAL, which will be shown for the occasion in its original 35mm format.

DENIS-HÉROUX AWARD: LOUISE PORTAL

Louise Portal is known as an actress whose career spans all genres and styles. Over the years, she has also made a name for herself as a writer, singer, novelist, and public speaker. Regulars to our Quebec short-film section will also be familiar with her work, as she often takes on roles in short films by up-and-coming young directors. She made her television debut in 1970, in the TV drama La P’tite Semaine. She made her big screen debut in 1972 with Mireille Dansereau’s LA VIE RÊVÉE and Clément Perron’s hard-hitting film TAUREAU, but it was with Jean Beaudin’s CORDÉLIA (1980) that her career really took off. French and Quebec films followed one after another, forming an impressive body of work comprising over 70 different roles, including Denys Arcand’s Oscar-nominated THE DECLINE OF THE AMERICAN EMPIRE (1986) and its Oscar, Cannes, and César-winning sequel THE BARBARIAN INVASIONS (2003).
 
Fantasia is proud to present a Denis-Héroux Award to Louise Portal for her lifetime achievement in Quebec and international cinema. The Denis-Héroux Award recognizes the exceptional contribution of an artist or craftsperson to the development, creation or distribution of Quebec genre cinema and independent cinema. The award will be presented before the screening of Rodrigue Jean’s film FULL BLAST (1999), shown in a newly restored version.

PRESENTING THE SPECIAL EVENTS OF FANTASIA’S 30TH EDITION

Fantasia is proud to reveal the following exciting array of special live events occurring across its 30th edition, many presented completely free-of-charge.
 
MASTERCLASS: NICOLAS WINDING REFN
Moderated by film journalist and critic Katie Rife
Friday, July 17, 4:00PM @ Cinéma du Musée
Join us for a special masterclass with Danish director, screenwriter, and producer Nicolas Winding Refn, recipient of our 2026 Cheval Noir Career Achievement Award. A transformative force in world cinema since bursting out of Copenhagen at the age of 24 with the instant-classic PUSHER (1996), which simultaneously launched the careers of Mads Mikkelsen and Zlatco Buric, Refn’s visceral, often dream-like and neon-tinged filmography across the decades largely reads like a list of landmarks: BLEEDER (1999), FEAR X (2003), PUSHER 2 (2004), PUSHER 3 (2005), BRONSON (2008), VALHALLA RISING (2009), DRIVE (2011), ONLY GOD FORGIVES (2013), THE NEON DEMON (2016), the Amazon series Too Old To Die Young (2019) and Netflix’s Copenhagen Cowboy (2023), and now, the immaculate HER PRIVATE HELL (2026), which celebrates its Canadian Premiere as our Opening Film.
 
In addition to his tremendous talents as a storyteller, Refn has been every bit as meaningful in the worlds of film preservation, curation and discussion, using his visibility and influence to shine light on under-appreciated filmmakers and works that have marked him. At this special masterclass event, the filmmaker will discuss not only his own work as an artist, but the state of cinema itself, what it means to create for the screen(s) in 2026, and the importance of preserving and contextualizing renegade cultural memory.
 
IN CONVERSATION WITH JANE SCHOENBRUN, HANNAH EINBINDER, ALICE MAIO MACKAY, LOUISE WEARD, AND AVALON FAST
Saturday July 18, 12:00PM @ Hall Cinema
Join us in celebrating a new generation of groundbreaking genre auteurs with this special group discussion between filmmakers and performers whose works intersect with their friendships and creative processes.
 
Visionary writer-director Jane Schoenbrun (I SAW THE TV GLOW, and Fantasia 2021’s WE’RE ALL GOING TO THE WORLD’S FAIR) will arrive in Montreal fresh off their Cannes Premiere and Palm Queer with the extraordinary TEENAGE SEX AND DEATH AT CAMP MIASMA, starring Hannah Einbinder (HACKS) and Gillian Anderson (The X-Files). Hannah Einbinder is a gifted, Emmy-winning performer and comedian. CAMP MISAMSA is one of two feature films that she stars in this year, following Victoria Strouse’s SXSW breakout SEEKERS OF INFINITE LOVE. As part of a new vanguard of groundbreaking transgressive filmmakers, frequent Jane Schoenbrun collaborators Louise Weard (who appears in a scene-stealing performance in CAMP MIASMA) and Alice Maio Mackay will also be screening at this year’s festival. Louise Weard makes her Fantasia debut with CASTRATION MOVIE CHAPTER iii; A FRAGMENTARY PASSAGE. The film stars Avalon Fast (who also appears in CAMP MIASMA and is the celebrated director of HONEYCOMB and CAMP) as she does everything in her power to stop her partner (Henri Gillespi) from transitioning. Jane Schoenbrun also shows up as the producer of OUR EFFED UP WORLD from frequent Fantasia festival darling, Alice Maio Mackay (THE SERPENT’S SKIN). Inspired by the alien invasion genre and slacker hang out movies, the film is about a group of friends standing up against an alien invasion that threatens to swallow the whole world.
 
FINAL EXAM HORROR TRIVIA PRESENTED BY HOLLYWOOD SUITE
Hosted by Ted Geoghegan, Michael Gingold, and Cam Maitland
Free admission
Saturday, July 18, 2:00PM-6:00PM @ Reggies Bar
After 40 live events in their native New York, filmmaker Ted Geoghegan and journalist Michael Gingold bring Final Exam, their long-running horror trivia showcase, to Montreal! Part eerie education and part creepy community event, these two legendary gurus of the grotesque will quiz you on all things spooky while teaching you that the genre you love has so much more to explore! To celebrate their first-ever event at Fantasia, Final Exam Horror Trivia is partnering with Canadian movie service Hollywood Suite to test your killer know-how... and remind you that horror is for everyone!
 
HARD CORE LANGUAGE: A CHAT WITH BRUCE MCDONALD
Moderated by Justin Langlois
Monday, July 20, 3:00PM @ J.A. de Sève cinema
With a career spanning four decades, Bruce McDonald has proven himself one of Canada’s hardest-working directors. From short films to music videos and features, McDonald has worked with A-listers like Harold Perrineau and Elliott Page, as well as indie punk gods Joey Ramone and Henry Rollins. This prolific filmmaker has left his mark on Canadian independent film – he won a Best Canadian Feature award at TIFF for his first film, ROADKILL, in 1989, was nominated 38 more times for awards at home and internationally and won 28. Oscillating easily between film and television, 2026 Canadian Trailblazer recipient Bruce McDonald has ventured into children’s and horror series and everything in between, with a filmography that includes such loved works as HIGHWAY 61 (1991), DANCE ME OUTSIDE (1994), HARD CORE LOGO (1996), PONTYPOOL (2008), TRIGGER (2010), HELLIONS (2015) and DREAMLAND (2019), among others. In an industry that’s so precarious, he’s stayed versatile and relevant, and we’ll learn how he’s managed his career and life in a candid chat you won’t want to miss!
 
MASTERCLASS: BLOOD BROTHERS FX
Moderated by Marc Lamothe
Monday, July 20, 5:00PM @ Reggies Bar
Genre cinema in Quebec is enjoying something of a resurgence with films such as TURBO KID (2015), LES AFFAMÉS (2017), BLOOD QUANTUM (2019), SLAXXX (2020), CONFESSIONS (2022), JOUR DE CHASSE (2024), HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON (2023), and JOUR DE MERDE (2023). What do all these films have in common? Notably, the involvement of a team known as Blood Brothers FX, a Montreal-based practical effects company specializing in the design, development, engineering, and production of high-quality special effects for film, television, live events, commercials, and more. At its core, it was a friendship forged over more than 30 years that united ‘Jib’ (Jean-Mathieu Bérubé) and Carlo Harrietha. The Blood Brothers team is celebrating its tenth anniversary, but sadly, Carlo, one of the two founding members, passed away in 2025. It is partly in his honor that we are holding this masterclass. The talk will be accompanied by video screenings, including a best-of compilation of their special effects and behind-the-scenes footage.
 
THE FANTASIA POSTERS OF DONALD CARON
Moderated by Rupert Bottenberg
Free admission
Monday, July 20, 5:00PM @ York Amphitheatre
The annual poster art is one of the key elements in defining any film festival’s identity, and that’s certainly the case at Fantasia. The festival can look back proudly over three decades of amazing imagery, masterfully crafted and rich in imagination – just like the weird, wild, and wonderful films that Fantasia unfailingly showcases. Several distinctive and talented Montreal artists have conjured up memorable poster designs through the years, but one has done the most by far. Illustrator Donald Caron has, since the festival’s earliest days, conjured up visions that catch the eye and encapsulate the spirit of Fantasia. The illustrator will be joined by Fantasia’s Director of Animation Programming, Rupert Bottenberg, for a nostalgic review of those posters through the years, assuring interesting insights into the artist’s craft, the lore of fantastic cinema, and the history of Fantasia!
 
AN EVENING WITH DON HERTZFELDT
Moderated by Marc Lamothe
Tuesday July 21, 5:30PM @ Cinema du Musée
Don Hertzfeldt’s short films are renowned for their blend of absurd black comedy and profound existential philosophy. Through simple, hand-drawn “stick figures”, his work explores the vulnerability of the human mind, the folly of man and human nature, the meaning of life, and our place in a vast and often indifferent universe. An Evening with Don Hertzfeldt is a conversation with one of the most important animators of the last 50 years, featuring screenings of seven of his most beloved short films. Over the years, fans of Fantasia and DJ XL5’s events have been treated to a barrage of his gags and reflections – sometimes absurd, but often existential – on the big screen. We’ll discuss his early career, influences, inspirations and, of course, his greatest films – all alongside screenings of the artist’s most memorable, groundbreaking works!
 
THE TESTAMENT OF THE MEXICAN MUMMY
A multimedia lecture from legendary Mexican film historian and curator Abraham Castillo Flores
Free Admission
Friday, July 24, 5PM @ York Amphitheatre
THE TESTAMENT OF THE MEXICAN MUMMY is a performative lecture that traces a media archeology of mummy horror cinema made in Mexico. In this dimension of folk-pop, opposites coexist: legend and history, imagination and reality, anthropology and the desecration of tombs, and of course, the absurd that makes it all possible. Through film fragments, unpublished photographs and literary references, we’ll discover the different facets of cursed love, sacrifices, and promises of vengeance that are perpetuated in all these films. We will also examine the peculiar detail that identifies the mummies of San Angel and those of Guanajuato: they are corpses on display that to this day continue to generate income. Their testament is a schizoid experience, between the sacred and the profane, where Abraham Castillo Flores will be your guide. However, doubt not, it will be the mummies who take over the microphone. They have a lot to share.
 
SEVERIN FILMS’ 20TH ANNIVERSARY: STREET WARRIORS: THE GAME OF CINE QUINQUI BOARD GAME LAUNCH
Hosted by Severin Films producer Kier-La Janisse and game designer Zach Clark
Free admission 
Saturday, July 25, 2:00-4:00PM @ Reggies Bar
Join us in celebrating the 20th Anniversary of Severin Films with the launch of their latest boardgame, STREET WARRIORS: THE GAME OF CINE QUINQUI. In STREET WARRIORS, you and your friends control gangs of juvenile delinquents in the slums of 1980s Madrid. You’ll send your gang out to cop items and commit crimes, while corrupt policemen get in your way and reporters roam the streets looking for tomorrow’s sordid headlines.

This collaboration between Severin Films and Living Lunch Novelties was designed by Zach Clark (creator of the LURID COVE boardgame and director of THE BECOMERS), with artwork by Johny Bekavac at Visibly Wasted, based on a commission by Severin producer Kier-La Janisse to accompany the new 4K restoration of the PERROS CALLEJEROS trilogy. Both Kier-La Janisse and Zach Clark will be present at the boardgame launch!
 
MASTERCLASS: LOUISE PORTAL
Moderated by Marc Lamothe
Sunday, July 26, 4:00PM @ York Amphitheatre
At first glance, Louise Portal is an actress who has championed and challenged every conceivable and inconceivable genre. Through her career, we trace the history of Quebec cinema, from the Quiet Revolution to the present day. French and Quebec films intertwine to form an impressive body of work comprising over 70 different roles, spanning both television and cinema. The discussion will, of course, focus on her early days, her major film roles and some of her voice-over work, including POLYESTER… Louise has no regrets, absolutely none, and she stands by everything, truly everything. An unfiltered discussion and a unique event with one of the greatest ladies of Quebec’s star system. Trailers and film clips will punctuate the session to help the audience get a better sense of context.
 
ARTIST TALK WITH MATT JOHNSON IN CONVERSATION WITH GRACE GLOWICKI
Wednesday July 29, 5:00PM @ Cinéma du Musée 
As part of Fantasia’s 30th anniversary celebrations, join us for a special artist talk between two of Canada’s most brilliant and beloved new wave film talents. 
 
Toronto-born actor, screenwriter, producer and director Matt Johnson blasted onto the scene with his radically distinctive indies THE DIRTIES (2013), which won Best Narrative Feature at Slamdance and had its Canadian Premiere at Fantasia, and OPERATION AVALANCHE (2016), which premiered at Sundance and had its Quebec Premiere at Fantasia, in addition to the adored cult series Nirvana The Band The Show. His third feature, BLACKBERRY (2023), premiered in competition at the 73rd Berlin International Film Festival and went on to break all Canadian Screen Awards records with 14 wins, including Best Motion Picture, Achievement in Direction, and Performance in a Leading Role (Comedy), becoming the most awarded film in CSA history. Johnson then directed NIRVANA THE BAND THE SHOW THE MOVIE (2025), which premiered at SXSW and was acquired by NEON, and this year’s TONY, which will be released by A24 on August 7. He returns to Fantasia this year as a producer on Carly Balestreri’s THE TWO YEAR RULE (2026).
 
Grace Glowicki blew minds with her feature debut TITO (2019), which she wrote, directed, and starred in. The film premiered at SXSW, winning the Adam Yauch Hörnblowér Award, before going on to win the Audacity Award at Oldenburg. Her second feature, THE DEAD LOVER (2025), premiered at Sundance and went on to play Rotterdam, SXSW, and TIFF. As an actor, Glowicki has appeared in a slew of acclaimed, singular works, including STRAWBERRY MANSION (2021) and BOOGER (2023), both of which screened at Fantasia. She also appears in THE HEIRLOOM (2024) and HONEY BUNCH (2025), for which she won a Canadian Screen Award for Performance in a Leading Role. Glowicki returns to Fantasia this year as the star of Emily Lawson’s MAN EATING PUSSY (2026). 
 
MASTERCLASS: ROBERT LEPAGE
Moderated by Marc Lamothe
Saturday, August 1, 3:00PM @ J.A. de Sève cinema
A masterclass with Robert Lepage offers a glimpse into the creative process of one of the province’s most important artists. This discussion will focus on his six feature films and seek to demystify how one of the province’s greatest scriptwriters and directors for stage and screen – acclaimed across the globe – has managed to produce films that are genuine cinematic landmarks. Just like Jean Cocteau, Robert Lepage’s cinema is not filmed theatre, but a reflection on the power and potential of cinema. Trailers and film clips will punctuate the session to help the audience better understand the context.
 
 
Plus, after the festival ends...
 
A FIVE-WEEK 30TH ANNIVERSARY SCREENING SERIES AT THE CINÉMATHÈQUE QUÉBÉCOISE
August 7 - September 19 @ Cinémathèque Québécoise
In celebration of Fantasia’s three decades of curation, the Cinémathèque québécoise and the festival are proud to present Fantasia: 30 Years of Exhilaration / 30 ans d’euphorie, a special retrospective screening series. Running from August 7 to September 19, 2026, the program showcases an eclectic mix of works selected from across Fantasia’s history, featuring visionary filmmakers including Johnnie To, Agnieszka Smoczyńska, Takashi Miike, Edgar Wright, Kim Jee-woon, Matt Johnson, Quentin Dupieux, Stephen Chow, Sean Baker, Na Hong-jin, Éric Tessier, Tetsuya Nakashima, Anders Thomas Jensen, Marina de Van, Rintarō, Lau Kar-Leung and more. Several titles will be presented in rare 35mm prints, many drawn from the Cinémathèque’s vaults.
 
Explore the full lineup at www.cinematheque.qc.ca/fr/cycles/fantasia-30-ans-deuphorie

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What a year Daniel Kraus is having. When he’s not busy reinventing the perfect sci-fi horror mash-up, creating the claustrophobic nightmare of ending up in a whale’s gullet, or delivering the definitive expose on “Night of the Living Dead,” he’s racking up Pulitzers for Fiction, like a Boss! The man has no “off” switch, and we wouldn’t have it any other way. Going through Daniel’s bibliography is a head-spinning fever dream of horror highpoints and collaborations we’d kill for. The man has Del Toro on speed dial for f*cks sake! (That’s a wild assumption, but we bet we’re right)

Daniel joined us to talk about his amazing new novel, “The Sixth Nik,” a deep-space, misfits-on-a-mission, body-mod, biomatter, acid-trip of a story that’s as audacious as it is appealing. This is the closest you’ll ever come to the most perfect issue of “Heavy Metal” never made. This book is a departure from what Daniel has done previously, or maybe it would be best to say what he just hadn’t gotten around to yet. The highest praise we can give it, other than it’s spectacular, is that we’re rabid to get back to this beautifully bizarre world he’s created. We had a blast talking to Daniel, and as always, he was amazing. Have a listen and enjoy!

You can purchase “The Sixth Nik” here.

You can follow Daniel Kraus on Instagram here.

Be sure to check out danielkraus.com.

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2026 is shaping up to be yet another great year for horror. While “Sinners” and “Weapons" reminded folks in 2025 that horror was here to stay, 2026 has had some record-breaking moments, many of which were attributed to the smash-hit film “Obsession.” Not only is the film a favorite amongst many of the Macabre Daily crew, but it’s also become a part of the zeitgeist in a way few films in recent history have. Hell, I was at a car dealership a month ago, and the guy working there had asked me, “Have you seen ‘Obsession’?” A surreal experience to be sure, and it’s been even more so that way for actor and producer Cooper Tomlinson.

Tomlinson stopped by to speak with us about the success of the film, as well as what he would like to do in the future. He was tight-lipped about his next collaboration with Curry Barker, “Anything But Ghosts,” but let us into some of the dream roles he’d like to play and what a great double feature could look like with “Obsession.” Enjoy the interview below, and “OBSESSION” makes its home debut exclusively on digital platforms starting June 30, 2026, and on a 4K UHD combo pack, Blu-ray™ and DVD on July 14, 2026, from Universal Pictures Home Entertainment. Details on the physical release are below the interview!

The critically acclaimed breakout from Focus Features and rising horror auteur Curry Barker, is an unsettling, nightmare fueled psychological thriller unlike anything the genre has seen in years. With an A CinemaScore and Certified Fresh and Verified Hot Rotten Tomatoes scores anchored by standout performances from Michael Johnston (Slash, Endangered Species) and Inde Navarrette (Superman & Lois, Wander Darkly), “OBSESSION” has become a cultural phenomenon and is the must-watch horror event of the year. Take the Obsession further with an exclusive look behind-the-scenes and discover why some obsessions are impossible to escape.

EXCLUSIVE BONUS FEATURES WHEN YOU PURCHASE AT PARTICIPATING RETAILERS:

• OBSESSION UNLEASHED - Take the obsession further by going behind the scenes with filmmaker Curry Barker and the cast, Michael Johnston, Inde Navarrette, Cooper Tomlinson and Megan Lawless, to see them create a wild horror story out of intense performances and shocking scares. Hear the cast reflect on their most memorable scenes, get a peek at Michael and Inde’s chemistry test that sparked the film’s emotional core, and see how their collaboration shaped the film’s most unsettling moments.

• FEATURE COMMENTARY WITH DIRECTOR/WRITER/EDITOR CURRY BARKER

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A highly rumored and anticipated announcement was recently made by Universal Studios Orlando and Universal Studios Hollywood, announcing that the “Hellraiser" trilogy would be coming to Halloween Horror Nights on both coasts. This is absolutely huge for fans of Horror Nights (and all horror lovers alike!) as this will be the first time that this intellectual property has had a presence at the event.

If you’re not familiar with the franchise, you have just over a month to get your research on. You can find “Hellraiser” 1 and 2 currently streaming for free on TUBI, while “Hellraiser 3: Hell on Earth” is available to rent or purchase on multiple platforms. The house specifically is going to be based on the first three films and will showcase some of the trilogy’s most iconic scenes. As per the press release, the description of the house reads: “Enter a realm of pure pain in a haunted house based on the original Hellraiser trilogy. You’ll journey through the depths of Hell and bear witness to Pinhead and the Cenobites’ nightmarish rituals. Then hope you don’t get trapped in your own.”

Halloween Horror Nights tempts guests to step beyond the threshold of pain and pleasure with all-new haunted houses inspired by the first three Hellraiser films that forever changed the genre. This terrifying new experience will transport fans into the twisted world first brought to life by Clive Barker, where desire, suffering and the unknown collide, beginning Friday, August 28 at Universal Orlando Resort and Thursday, September 3 at Universal Studios Hollywood.

These films lend themselves perfectly to a haunted house, and we can’t wait to see how the Universal Creative team executes this. If we had to guess, we can assume that we’ll see the nightclub massacre scene from “Hellraiser 3,” of course Frank’s resurrection from the first “Hellraiser,” along with the “Jesus Wept” scene. From “Hellraiser 2,” it’s almost a must to have us go through Leviathan’s Lair, and more than likely we can find ourselves in the same institution where Kirsty was sent after the first film.

Now, for the first time at Halloween Horror Nights, guests will experience this nightmare personally in haunted houses on both coasts that draw from the first three films. Additionally, legendary Pinhead actor Doug Bradley will reprise his character and lend his voice to both haunted houses in Hollywood and Orlando.

With big names such as “Stranger Things,” “Sinners,” and now “Hellraiser,” it seems like this anniversary year is shaping up to be one for the books. We’ll check back in once our full lineup is revealed, and we'll be counting down the days until opening night. Until then, see you in the fog!

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Gaming god and noted muppet aficionado Geoff Keighley took the stage at the Dolby Theater with veteran games journalist Lucy James to present a host of smashing new video game trailers at Summer Games Fest. Keighley has once again secured a ton of announcements and premieres to get gamers foaming at the mouth, and horror fans ate especially good this year. Here are seven of the most sizzling trailers that dropped at Summer Games Fest to spice up your summer and get you hyped for the future of horror gaming!

Take a peek at these tantalizing trailers and enjoy the summer of scares!

Game Trailers!

“1666: Amsterdam”

A new witchcraft-focused game from Patrice Désilets, creative director of “Assassin’s Creed”, “Assassin’s Creed II” and “Assassin’s Creed Brotherhood,” follows a supernatural war set at the close of Amsterdam’s golden age. “Amsterdam: 1666” follows the young Noa Brooklyn as she battles ancient dark forces across the open world of Amsterdam. Aided by a playable cat and the mysterious Zaindaris, Noa uses spellcraft to take down dangerous enemies. Désilets’s skill at crafting historic worlds is undeniable, and despite some generic-sounding lore, “1666: Amsterdam” will certainly be added to many gamers' wishlists.

“1666: Amsterdam” does not currently have a release date, but a playable prologue is available right now via the Steam Store or Epic Store

“ALIEN: ISOLATION 2”

The twelve-year wait for a new Alien game from Creative Assembly has been a long one, especially given how beloved “Alien: Isolation” was by fans. The first game focused on Amanda Ripley and was a direct sequel to the original “Alien”. The visual accuracy of “Isolation” was impeccable, and its creative save mechanics were even referenced by avid gamer Fede Alvarez in “Alien: Romulus”. Sadly, the game didn’t sell as well as hoped, and it’s taken SEGA a decade to greenlight a new game. “Alien: Isolation 2” will take place on an inhospitable Weyland-Yutani colony world, and feature exteriors in a notable shift from the original’s Sevastopol Space Station. Expectations will be high for such a long-anticipated game, and it is up to a new creative team to hit the very high bar set by the first game.

“Alien Isolation 2” does not currently have a release date but has been announced to be in development for PlayStation 5, Xbox X/S, Nintendo Switch 2, and PC.

“SAW: GENESIS”

Billy the puppet himself rolled onto the stage to announce this new “SAW” game almost completely out of the blue at Summer Games Fest (there was a brief, accidental Steam page leak). SAW: Genesis is the latest by a major franchise to get in on the asymmetrical horror craze. In a massive departure from current series lore, “Genesis” is set nearly a hundred years before the films. Following the aftermath of World War I, “Genesis” sets a mastermind known as “The Judge” against “The Accused” in some very violent trials. Tobin Bell has been recruited to do voice work as John Kramer, but it remains to be seen if fans will embrace such a change in the lore. Despite many attempts, no asymmetrical horror has yet to survive in the face of the juggernaut that is “Dead by Daylight”. With a new “Halloween” game on the way, and “DBD” finally adding Jason, “SAW: Genesis” faces an uphill battle to stake a claim in online gaming.

“SAW: Genesis” currently does not have a release date and is currently only confirmed for a PC release.

“RESIDENT EVIL: VERONICA”

Redfield fans rejoice, your moment has arrived! For the die-hard fans of cult classic “Resident Evil: Code Veronica”, it has not been a matter of if the game will get an RE Engine remake but when. That question has finally been answered: 2027. “Code Veronica” is a beloved but oddball game in the franchise, and its devoted fans have had to watch “Resident Evil 2”, “Resident Evil 3” and “Resident Evil 4” all get remakes while “Code Veronica” languishes in the world of pre-rendered backgrounds and fixed camera angles. This trailer promises an aggressive redo of the game, with a first-person intro that’s very different from the original one. Hype is mixed with skepticism in the “Resident Evil” community, as Capcom prepares once again to bring the magic of a classic game to modern consoles.

You can read my rant about what I think Capcom needs to nail with “Resident Evil: Veronica" here.

“Resident Evil: Veronica” is scheduled to release in 2027 on PS5, Xbox X/S, Switch 2, and PC

“JOIN US”

Following in the wake of the popularity of “Cult of the Lamb,” “Join Us” asks you not to be a hero, but to convert to the forces of darkness to survive the apocalypse. The wild new trailer invites you to “Lead,” “Build”, and “Teach” before jumping to other selling points such as “Tomatoes” and “Flamethrowers”. This action-horror-survival game allows you to form a cult with up to three of your friends, create a community, and then blast your enemies. “7 Days to Die” and “Rust” vibes mix with an almost “Goat Simulator” level of goofiness in this rapid-fire trailer that stuffs a ton of energy into just over sixty seconds. If you’ve ever wanted to start a cult with your buddies, your chance is coming next year!

“Join Us” is scheduled to release in March 2027 on Xbox X/S via GamePass Day 1, as well as PS5 and PC.

“AMONG US STORY: ON GUARD”

Just when you thought it was safe to go back into space… “Among Us” returns to the spotlight with a new single-player experience! “Among Us Story: On Guard” from developers Innersloth fleshes out the world of “Among Us” with a murder mystery plot in a completely new standalone game. The brief trailer promises “A Task To Do” and “A Crime To Solve”, which implies that the game will not diverge too far from the “Among Us” formula. “Among Us” is beloved largely for allowing players to craft their own narrative, but early response to the trailer has been highly enthusiastic. Whether fans will ultimately find the story “sus” and push it out the airlock remains to be seen.

“Among Us Story: On Guard” does not have a release date and is currently only confirmed for a PC release.

“CONTROL: RESONANT”

Remedy Entertainment’s fifth entry in their connected universe of action/horror games, “Control: Resonant,” was announced at last year’s Game Awards. Following Dylan Faden years after the events of “Control”, Remedy’s sequel is genre-shifting towards an RPG focus and expanding the game’s world out into a reality-warped Manhattan. The new trailer provides a closer look at the nightmarish New York City, full of floating bodies and freakish horrors. After venturing into co-op shooting without success in “FBC: Firebreak”, Remedy has returned to the more familiar frights that fans loved so much in “Alan Wake 2”. This new trailer for “Control: Resonant” is downright gorgeous, and it seems very possible that Remedy has another “Game of the Year” nominee on their hands.

“Control: Resonant” is scheduled to release September 24th, 2026 and is available for Pre-Order on PS5, Xbox X/S, and PC

“STRANGER THAN HEAVEN”

SEGA and RGG Studio unveiled new cast additions for their highly anticipated upcoming action-adventure game, “STRANGER THAN HEAVEN™,” including iconic rapper and actor Tupac. Actors Takashi Ukaji, Yasukaze Motomiya, Takaya Kuroda, and Kohei Tsuji (Nippon no Shacho) will also be joining the cast. 

Following the trailer reveal, RGG Studio Head Masayoshi Yokoyama was joined on stage by Snoop Dogg, who touched on the inclusion of Tupac as a new character named Amaru. Snoop Dogg is also contributing to the game’s official theme song along with Satoshi Fujihara, Ado, and Tori Kelly, who also portray characters in the game.

“STRANGER THAN HEAVEN” will release worldwide January 15, 2027, on XBOX Game Pass, XBOX Series X|S, XBOX on PC, XBOX Cloud, Steam, and PlayStation 5. It is available now for pre-order. 

For more information and news updates, visit the STRANGER THAN HEAVEN official website, and follow along on X, Instagram and YouTube

“PERSONA 6”

The iconic JRPG series returns with its highly anticipated next chapter. With over 30 million copies sold worldwide, the “Persona” series has defined a generation of RPG storytelling. Now, after years of anticipation, the next installment is finally revealed.

“Persona 6” brings everything beloved about the series into a bold new story. The signature blend of heartfelt daily life and pulse-pounding supernatural adventure returns, wrapped around a completely fresh, standalone story and a new cast of characters. Whether you've been with the series since the beginning or this is your very first Persona experience, you belong here!

“Persona 6“ will be available on XBOX Series X|S, XBOX on PC, PlayStation 5, and Steam. It will be available day one with XBOX Game Pass, PC Game Pass, and is part of XBOX Play Anywhere. 

“TOTAL WAR: WARHAMMER 40,000” Closed Beta Sign-Ups

The Creative Assembly and SEGA unveiled a new look at “Total War: WARHAMMER 40,000” at the PC Gaming Show 2026, featuring behind-the-scenes developer insights with brand-new in-development gameplay.

In addition, the studio confirmed that a closed beta will launch later this year, and players can join the fight now by signing up: www.totalwar.com/beta

“Dead By Daylight” Updates And News

“Dead by Daylight,” the groundbreaking horror multiplayer from Behaviour Interactive, hit rarified air on Sunday as it welcomed thousands of fans from around the world to Montreal to celebrate its 10th anniversary. Not only can few live service titles boast such a milestone, but fewer still can claim to have reached it on the heels of back-to-back record-setting years – a testament to the game’s enduring popularity. Following a day-long fan event in Montreal’s Old Port filled with panels, meet-and-greets, art, photo ops, and more, the development team took to the stage to shine a light on the next decade of “Dead by Daylight.”

Chapters and Collaborations

Fresh off some of the biggest releases in its history, “Dead by Daylight” made one thing clear: the next 10 years in The Fog will be every bit as ambitious as the last. Fans in attendance were treated to a standout slate of licensed and original content, alongside thrilling new collaborations that promise to keep the scares coming in some truly unique ways.

Kicking things off was a recap of the game’s upcoming Chapter as beloved horror icon Jason Voorhees finally hacks his way into The Fog after a decade of demand. Dead by Daylight: Jason releases June 16 on all platforms. Next was the surprise reveal of a Survivor-focused Chapter featuring original character Shane Wiigwaas, the game’s first Indigenous Survivor. Dead by Daylight: The Life Road follows shortly after Jason, releasing June 25 on all platforms.

Also revealed, newly minted horror icon Art the Clown is poised to enter The Entity’s Realm with Dead by Daylight: Terrifier set to release in November of this year. This follows the August release of Dead by Daylight: Chorus of Sin – the game’s first-ever Chapter developed entirely in collaboration with its community.

Looking even further ahead, early announcements for 2027 include a Chapter adaptation of Dead by Daylight’s first narrative-driven title, The Casting of Frank Stone.  

The Future of Dead by Daylight

On the gameplay front, the Dead by Daylight team pulled back the curtains on one of the most ambitious initiatives in the game’s history, setting the stage for a new era in The Fog.

Leading the charge is a sweeping visual overhaul targeted for rollout in 2027. Designed to make every Trial more immersive and emotionally impactful, the update will introduce new character model reworks with expanded animation capabilities, alongside realistic facial animations that bring greater expression and nuance to characters. Maps and environments will also receive significant upgrades, including enhanced lighting, shading, and textures, improved Fog and Mist effects, a stronger Entity presence, and, for the first time in Dead by Daylight, dynamic weather systems featuring light rain, heavy rain, and storms. New voice lines for all applicable original characters will additionally be recorded and introduced over time as part of the initiative.

A wider selection of new Game Modes is also being rolled out in the coming years, with early details for 1v1 Mode and Zombie Mode shared.

Finally, in a move that will allow its community to create, experiment, and express themselves in the game like never before, Dead by Daylight will be officially opened up to sandboxed modding. The team is currently working on a suite of tools to put in players’ hands sometime next year that will give them everything they need to cook up and share new Maps, Modes, and everything in between. 

The Dead by Daylight Movie

Behaviour Interactive Executive Vice President Stephen Mulrooney provided fans with a highly anticipated update on the upcoming “Dead by Daylight” film, joined on stage by fellow producer Jason Blum from Blumhouse Atomic Monster. 

With a screenplay by Alexandre Aja and David Leslie Johnson-McGoldrick already completed, the trio unveiled Thordur Palsson as the film’s director and invited him onstage to share his vision for adapting the world of Dead by Daylight for audiences everywhere.

New Collections Revealed

The team also gave a sneak preview of several of the game’s upcoming Collections. The Black Banquet Collection, tied to this year’s Anniversary Event that runs from June 25th to July 16th, will offer players some party-appropriate formal wear. The desert-themed Sunflesh Collection will also deliver new looks as part of one of Dead by Daylight’s next Rifts.

Also announced were a new Eddie Legendary Outfit for The Huntress in honor of Iron Maiden’s 50th anniversary, and an Ice Nine Kills Collection inspired by the heavy metal band who thrilled fans at the event with the debut of their new Dead by Daylight-themed track and music video.

Expanding on existing franchises, The Walking Dead Collection will add Glenn and Negan as Legendary Outfits for Rick, while a new Silent Hill Collection Legendary Outfit for Cheryl will transform her into Shimizu Hinako from SILENT HILL f, the psychological horror game by KONAMI.

Finally, answering years of fan requests, one of the most highly anticipated Collections ever is finally coming to The Fog, bringing the beloved characters of Scooby-Doo into Dead by Daylight for the very first time, while the newly announced Diablo Collection is set to bring a fresh wave of demonic forces to The Fog this October.

Ten years after players first stepped into The Fog, the future of Dead by Daylight has never looked brighter, or more terrifying.

“Ice Nine Kills - Play Dead” Music Video Collab With “Dead By Daylight”

Ice Nine Kills enter the fog today with “Play Dead,” a brand-new single and accompanying music video created in collaboration with Dead by Daylight, the world’s leading multiplayer horror game. Written for Dead by Daylight’s 10th Anniversary celebrations and announced on their anniversary live stream, “Play Dead” brings Ice Nine Kills into one of horror gaming’s most iconic worlds, uniting two genre-obsessed universes built on suspense, survival, mythology, and the thrill of the kill.

The track was created in collaboration with longtime Dead by Daylight composer Michel F. April and arrives alongside an in-game Ice Nine Kills Collection, allowing players to represent the band inside the game’s ever-expanding horror universe with unique DLC.
 

Fans can stream “Play Dead” now HERE and watch the accompanying music video HERE.

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The 1970s gave way to a wave of killer inanimate objects. “Death Bed: The Bed That Eats,” “Attack of the Killer Tomatoes,” and “Killdozer” were just the beginning of a long tradition of possessed objects that have left us laughing for decades. In the last several years, we’ve had “In Fabric” (killer dress), “Slaxx” (killer jeans), and “Killer Sofa,” just to name a few. Now, you can add Diq Diamond’s “Plankenstein: A Killer Surf Movie” to that growing list. With such an outlandish premise, you’d think it would follow in the footsteps of “Rubber” and “Attack of the Killer Donuts,” perfect examples of landing both the horror and the humor. Unfortunately, “Plankenstein” is a one-way trip to dullsville, packed with mediocre jokes about tuna fish. When the ribbing does land, it’s so few and far between that it’s like you’re watching a different (and better) film.

What’s It About?

Set in O’ahu, Hawaii, the story centers on a cursed surfboard that’s uncovered at the scene of a murder. It then finds its way around the beachside village, wreaking havoc on the townsfolk. But no one knows what exactly is happening until it’s too late.

How Is It?

Lili’ (Leilani Ramos) will never get used to being called a tuna fish. She’s sex positive and finds herself the brunt of joke after joke after joke about this. It’s not funny the first time, and it certainly isn’t the million times after that. She becomes caught in a love net with Liko (Stuart Featheran) and Officer Nahoa (Shane Chisum), but she really doesn’t have interest in either of them. They both contribute to the ongoing shame she feels for just being free and completely herself. This subplot does little to draw interest and actually deflates the film when it cuts away from the killer surfboard’s murder spree.

Lili’s mother, Captain Merry Miller (Amy Jennings), is hot on the case. Though she fails to see the connection between the murders, even with the surfboard being found at each crime scene. Officer Nahao surprisingly catches on quite early, but convincing his superior officer is an uphill battle he just won’t win. As the massacre escalates, the film doggy paddles in circles with the same jokes said slightly differently. There was a real opportunity to drill down into the situation’s outrageousness, but its attempt to have its cake and eat it too makes for something that’s neither fun nor funny.

Scary (Robert Maclean) rents out surfboards to the public from a ramshackle stand under the canopy. He’s the hippy-dippy type and never takes anything seriously. His goofiness stands out in a sea of unmemorable characters, and nearly all his jokes actually land (e.g., the one about Dwayne “The Rock” Johnson is a highlight). It makes it all the more confusing that the rest of the characters and their humor never feel natural or earned in a significant way. There are only a handful of jokes that don’t involve Scary that are home runs, but you’ll have to wade through the muck to find them.

The kill scenes are surprisingly bland, as well, except for one penis dismemberment. There’s a whole lot of throat-slashing and skull-cracking that just flop on the beach. The poster makes it seem like the film is a camp classic in the making. What you’ll soon discover, though, is a half-hearted attempt at zany that blows a really cool set-up.

Last Rites

“Plankenstein: A Killer Surf Movie” will likely not make many viewers laugh. Stale jokes about a woman being a tuna fish are pretty much the only card Diamond has to play. For a film about a killer surfboard, there’s really nothing killer about this. It’s unfortunate. The bones are there for a fun-in-the-sun slasher, and the cast does their best with what they have. They just deserved a better script.

The Gory Details

“Plankenstein: A Killer Surf Movie” is out now on Tubi.

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Ask the average slasher fan what their favourite decade is, and you can smell their answer from a mile away: the ‘80s (I know you said that). And it’s no wonder why. The 1980s are objectively the most culturally iconic decade for slashers. The sheer volume of output (with at least 11 being released theatrically in 1981) alone positions it as a bottomless well of entertainment for slasher fans. The decade also gave us some of our favourite slasher killers like Freddy Krueger, Jason Vorhees, Chucky, and more. 

But here’s the thing: the 2000s were better. Yes, you read that right. I think the 2000s were a better decade for slashers than the ‘80s. Before I get burnt at the stake, I want to acknowledge that I know how heavy of a statement that is, and want to clarify that it is purely subjective. I know not everyone will agree with me, and that is both understandable and expected. I mean, come on, it’s the ‘80s.

Still, the 2000s just do more for me in terms of tone, visuals, entertainment value, and aesthetics. So even if after reading this article, you may still not agree with my stance, I hope you will be able to see and understand why the 2000s are a huge preference for me when it comes to the slasher genre.

BRINGING BACK SCARY

Slashers of the early 80s largely aimed for straight horror and suspense, giving us frightening and atmospheric films like “Maniac” (1980), “Madman” (1981), and “The House on Sorority Row” (1982). While most weren’t always pervasively scary, they knew how to execute hilarious moments without letting it detract from the terror.

Slashers of the late ‘80s, however, were dominated by campy excess, with films like “Slumber Party Massacre II” (1987) and the beautifully bizarre “Blood Rage” (1987). This has been largely attributed to the slasher genre becoming stale and repetitive after the golden age (1978 – 84). While being campy isn’t a bad thing in itself, it meant that these films weren’t as traditionally effective as the slashers of the former half of the decade. It’s important to acknowledge that there were some slashers in the late 80s that aimed for straight-faced terror (e.g “Berserker” from 1987), but the era is remembered for and defined by its campy output.

The 2000s rightfully (in my humble opinion) brought back the dark and frightening, especially from the mid-late 2000s with torture porn-influenced slashers and the remake wave. American slashers of the time like the “Texas Chainsaw Massacre” and “Halloween” remake duologies brought back the gritty grindhouse style of 70s slashers, with ultra-violence and a nihilistic tone, and were complemented by French New Extremity slashers like “High Tension” (2003).

These films amplified the grime of early 80s slashers like “Maniac,” and even faced more criticism for their graphic content than the films of that era. Obviously “dark and frightening” ≠ good, but from a pure “serious-horror” standpoint, the 2000s slightly surpass the 80s for me.

CINEMATOGRAPHY AND THE LOOK

Slashers from the 2000s have a distinct and easily identifiable ‘look ’-that piss-coloured, almost-desaturated palette that everyone loves to criticize as “2000s horror look,” but that shows iconic branding more than anything else. Think films like “House of 1000 Corpses” (2003)’s gritty grunge rock aesthetic and the sweat-drenched, green/blue/orange semi-desaturated cinematography of “Hush” (2008), “House of Wax” (2005), and “All The Boys Love Mandy Lane” (2006). They feel effectively immersive for viewers and add to the decaying nature of the world these films are set in. The desaturated icy blues of the “Cold Prey” films help you feel the brutal, unforgiving nature of winter.

The camera work in films of this era were also distinctive and memorable, for example “Black Christmas” (2006)’s stylized angles and framing (courtesy of Cinematographer Robert McLachlan, who also used inventive camera work in the non-slasher horror remake of “Willard” in 2003), “Texas Chainsaw Massacre: The Beginning” (2006)’s disorienting hand-held style, and “Sorority Row” (2009)’s slick fluid camera movements.

It’s all very pleasing to me, especially as someone who loves visuals.

COSTUMING AND "FUN TRASH”

Speaking of visuals, another distinct and, dare I say, culturally impactful aspect of the 2000s slasher wave was the costuming of its protagonists. You knew you were in for a great time of a slasher when you saw its characters wearing the signature tank top and flared jeans. It’s even become a fashion movement on TikTok for Gen Z youths like myself. This shows that 2000s slashers do carry some cultural significance. Even though it’s not as popular as the 80s “summer camp slasher” fashion, I see the 2000s slasher fashion as superior due to how timeless it feels, as it’s updating on that of the 70s and feels like something you can put on any day.

I won’t lie, not every 2000s slasher was scary or even “good,” just like in the 80s, and there were a lot of bad, trashy films. And maybe it's because I’m a modern audience, but I find those bad, trashy films to be more consistently entertaining than their 80s counterparts and even some of the “good” 80s slashers. “The House on Sorority Row” (1982) is a better-constructed slasher than its 2009 remake, but I find myself more drawn to the remake and rewatching it a lot more. And I find “Dead Tone” (2007) to be more fun than various house party slashers from the 80s, even though it's a very stupid film. The late 80s did have its fair share of fun-trash slashers (shoutout “Blood Rage” again), but a lot of them were bogged down by either low gore, repetitive narrative, or, the worst offender, sluggish pacing. Most trashy 2000s slashers knew they weren’t good narratively and made up for it with things like good kills and fast pacing.

ONE LAST SCARE (CONCLUSION)

While the 80s gave slashers their identity, the 2000s refined many of the things I personally like about the genre: brutality, stylistic confidence, and a willingness to be unpleasant. For me, the 2000s not only revived slashers, but also perfected the aspects of the genre I find most compelling.

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