2026’s SXSW comes to a bloody close… and no, I’m not just referring to the gory climax of Ready or Not 2! Check out the full festival wrap up after the jump…
Films
AMERICAN DOLLHOUSE
Following in a long line of “crazy bitch” obsession flicks, American Dollhouse embraces a campy tone, wonderfully emulating the annals of 80s horror. When Sarah (Hailley Lauren) returns to her childhood home after the passing of her mother, she fully intends to spin it from a nearly dilapidated tear-down to a renovated, potentially sellable home. Unfortunately, Sarah becomes the target of a deeply disturbed neighbor named Sandy (Kelsey Pribilski), whose fixation on Sarah and the “rules” of the property spiral into extreme violence. Sandy lurks around the block on roller skates in a garish pink jumpsuit, and clearly is bad news from the second she appears. Writer/director John Valley shows an eye for restraint and nasty imagery as he allows Sandy to let loose on her unsuspecting neighbor. Cue: gaslighting, an unsettling atmosphere, and an excellent final act that embraces the ridiculous suburban iconography. Even when the acting occasionally lets down the strong writing, Pribilski’s completely unhinged performance sells it.
BASIC
Full review at the link.
BLACK ZOMBIE
In a bid to recontextualize the modern zombie—and to provide a historically accurate history of its derivation—Black Zombie may appear at first glance as a traditional genre documentary. Some of the usual faces are here: Tom Savini, makeup effects guru; Slash the musician, a horror obsessive. Then there’s voodoo priestesses and film historians and native Haitians. That alone should send off alarm signals. Black Zombie has more on its mind, and the grim origins of zombified slavery are even more disturbing. The documentary traces some disturbing patterns throughout cinematic depictions of zombies, especially in the earlier years when the only basis was a racist text from Western traveler/author/sadomasochist William Seabrook. The reality of black zombies may be more difficult to digest than what we see depicted in movies and television. By examining the topic from several sides, buoyed by footage and lots of talking heads, a full picture begins to take shape. Are voodoo and zombification intrinsically linked, or is that just a media thesis? One thing that bothered me was the way they speak about Wes Craven and his controversial film, The Serpent and the Rainbow. There is little nuance there, instead focusing on the white savior of it all. Still,Black Zombie ultimately appears well structured and researched. Certainly, the next time a giant horde attacks the masses on the big screen, viewers will be left thinking twice about its implications.
DEAD EYES
Full review at the link.
FIFTEEN (QUINCE)
Full review at the link.
HE BLED NEON
Full review at the link.
MANHOOD
Full review at the link.
MY BROTHER’S KILLER
Full review at the link.
NEVER AFTER DARK
Full review at the link.
PRETTY LETHAL
Full review at the link.
READY OR NOT 2: HERE I COME
Full review at the link.
A SAFE DISTANCE
Full review at the link.
THE SNAKE
Perhaps feeling starved for comedy content can make the crumbs offered up by The Snake almost feel like a full meal. Jenna MacMillan’s directorial debut focuses on one of the most unlikable female characters in some time. Jamie (Susan Kent) drifts about, desperate to steal her nana’s will at any cost whilst clashing with her mother, her best friend, and nearly anyone she crosses paths with. The highlight here as a Drag Race superfan was seeing Jimbo in a supporting role as a drag queen bartender with her trademark huge tits. There’s a level of oddity that almost works, such as the twins from A Series of Unfortunate Events briefly appearing to warn Jamie away from her off-putting mullet-haired beau. The string of poor decisions and lack of consequences for Jamie become frustrating—this is no Red Rocket, it’s more of a The Trainer. Slight, silly, stylish, and ultimately, quite empty.
For ticketing information and more on SXSW, head over to the official website!