New Orleans, LA – The annual Overlook Film Festival, a celebrated haven for horror enthusiasts, descended upon the atmospheric streets of New Orleans this past week, showcasing a diverse and compelling slate of genre films, live experiences, and insightful panels. Known for its unique blend of cinematic artistry and chilling immersion, the festival once again proved itself to be a pivotal event for both established genre filmmakers and emerging talents. This year’s programming featured a robust lineup of upcoming features from major studios, exclusive Shudder offerings, and a selection of films still seeking distribution, offering attendees a comprehensive glimpse into the future of horror.
Established in 2017, the Overlook Film Festival has rapidly ascended to become a must-attend event for serious horror aficionados. The festival’s deliberate choice of New Orleans as its host city amplifies its thematic resonance, leveraging the city’s rich history of folklore, mysticism, and documented paranormal activity to create an unparalleled immersive experience. The event consistently draws a dedicated crowd, ranging from casual fans to industry professionals, all eager to explore the evolving landscape of terror on screen and beyond. This year’s festival, held from [Insert approximate festival dates here if known, otherwise omit or use general phrasing like ‘this past week’], continued this tradition, presenting a curated selection that spanned various subgenres and thematic explorations.
While the sheer volume of screenings made it a challenge to attend every single presentation, a thorough review of the festival’s most impactful features reveals a slate of films poised to make a significant mark on the horror landscape. These selections, presented in alphabetical order, represent the cutting edge of dread and innovation within the genre.
Highlighting the Festival’s Chilling Offerings
Affection: A Psychological Descent into Identity
BT Meza’s directorial debut, Affection, offers a disquieting exploration of memory, identity, and the insidious nature of gaslighting. The film centers on Ellie Carter, portrayed with compelling vulnerability by horror favorite Jessica Rothe. Ellie awakens in an unfamiliar house, answering to a name she doesn’t recognize, and confronted by a husband, Bruce (Joseph Cross), and a daughter, Alice (Julianna Layne), whose existence is a blank slate in her mind. Bruce attributes her disorientation to a traumatic brain injury sustained in an accident, a narrative that Ellie increasingly suspects is a carefully constructed deception.
Meza’s direction, drawing comparisons to M. Night Shyamalan’s penchant for atmospheric tension and thematic emphasis on belief, masterfully utilizes its confined setting and small ensemble cast. The intimacy of the performances amplifies the escalating sense of unease, as the characters’ connections fray under the weight of Ellie’s fractured reality. Rothe, lauded for her physical prowess in the Happy Death Day franchise, delivers a performance that showcases her range, trading comedic relief for raw, visceral terror. The film’s imaginative special effects and potent body horror elements, coupled with a narrative that steadily tightens its grip, mark Affection as a remarkably strong debut. The film is slated for a limited theatrical release on May 8th, signaling its potential to reach a wider audience and spark critical discussion.
American Dollhouse: Subverting Holiday Cheer with Sinister Undertones
John Valley, known for The Pizzagate Massacre, ventures into the territory of Christmas horror with American Dollhouse. The film introduces Sarah (Hailey Lauren), a woman haunted by her past, who seeks solace and a fresh start by inheriting her childhood home. Despite her brother Michael’s (Tinus Seaux) apprehensions about the dilapidated property and his sister’s apparent immaturity, Sarah is convinced the move will help her confront her traumatic upbringing. However, her plans are quickly complicated by her peculiar neighbor, Sandy (Kelsey Pribilski), an adult woman whose childlike demeanor and insistent adherence to holiday traditions create an unsettling dynamic.
Sandy’s fixation on Sarah adhering to specific Christmas rituals, particularly the decoration of the house, escalates into a series of increasingly uncomfortable and unhinged confrontations. Valley, describing American Dollhouse as a "proto-slasher," uses the film to dissect the idealized image of the traditional American family, its rituals, and its underlying values. The ensuing conflict between Sarah’s desire for independence and Sandy’s desperate attempt to preserve a distorted vision of familial harmony culminates in a bloody and frightening clash, questioning the true meaning of "home for the holidays."
Boorman and the Devil: An Unflinching Look at a Cult Classic’s Creation
David Kittredge’s documentary, Boorman and the Devil, offers a profound examination of John Boorman’s ambitious, yet notoriously divisive, Exorcist II: The Heretic (1977). Often cited as a cinematic misfire that contributed to the decline of the New Hollywood era, the film nonetheless maintains a dedicated cult following, a sentiment shared by the documentary’s creator. Regardless of one’s personal opinion of The Heretic, Kittredge’s documentary compellingly argues for the sheer skill and dedication that underpinned its production.
Through candid interviews with Boorman himself, cast members Louise Fletcher and Linda Blair, key crew members, and esteemed film critics, Boorman and the Devil constructs a comprehensive narrative. It delves into the film’s storied production, its disastrous critical and commercial reception, and its enduring place within film history. The documentary navigates a delicate balance between humor and heartbreak, offering an intimate portrayal of the pressures faced by filmmakers navigating studio demands, artistic aspirations, audience expectations, and personal ambitions. Kittredge posits that films that take significant creative risks, even if they don’t entirely succeed, are often more instructive and inspiring than conventional successes. This perspective serves as a powerful call for filmmakers to prioritize inventive storytelling and unwavering belief in their vision over the pursuit of a flawless final product.
Buddy: Nostalgia Twisted into Nightmarish Terror
Casper Kelly, the visionary behind the viral sensation Too Many Cooks, emerges with Buddy, a film that could very well spawn the next generation of horror-comedy icons. What begins as a saccharine, 1990s-style children’s program, It’s Buddy!, featuring the cheerful, anthropomorphic unicorn Buddy (Keegan-Michael Key) and his young charges, quickly devolves into a psychological and visceral nightmare. Buddy’s benevolent facade crumbles, revealing a possessive and wrathful entity whose rules govern a world populated by sentient furniture, an animated mailbox, and anthropomorphic flora.
As the children—Freddy (Delaney Quinn), Oliver (Tristan Borders), Wade (Caleb Williams), and Hannah (Madison Polan)—attempt to escape Buddy’s clutches by venturing into the unknown beyond their clubhouse, a parallel narrative unfolds in the real world. Grace (Cristin Milioti) experiences an inexplicable connection to the show, despite its lack of historical record, much to the concern of her husband Ben (Topher Grace), who believes she is losing her grip on reality. The film masterfully navigates between these intertwined realities, delivering a gory and anxiety-inducing experience that is as hilariously absurd as it is shockingly cruel. Kelly’s work deconstructs the comfort derived from childhood nostalgia, offering a darkly comedic and profoundly unsettling reinterpretation of children’s programming.
Goody Goody: Labor Pains Take a Supernatural Turn
Raymond Creamer’s feature debut, Goody Goody, solidifies his position within the burgeoning pregnancy horror subgenre. Rather than focusing on the typical gestation period or the arrival of a demonic infant, the film zeroes in on the intensely charged and precarious experience of labor itself. Inspired by a personal account of a home birth and historical accusations of witchcraft, Goody Goody masterfully blends scientific realism with chilling superstition. The narrative follows Goody (Samantha Robinson) and Jayson (Colby Hollman) as they prepare to welcome their child in their secluded cabin. However, their planned natural home birth takes a sinister turn when the midwife, Sarah (Colleen Foy), senses an alarming anomaly with the baby.
Trapped by a relentless snowstorm and a power outage, Sarah, along with Jayson’s sister Candace (Zoe Renee), struggle to manage the escalating crisis. It soon becomes chillingly apparent that the events unfolding are far from natural. Creamer’s patient direction builds a palpable atmosphere of dread, sustained by assured performances and a steadily increasing tension. The film artfully balances the unknown supernatural elements and visceral body horror with moments of genuine hope and empathy, creating a compelling and unsettling viewing experience. Goody Goody is scheduled for release on Shudder later this year, promising a unique and terrifying addition to the platform’s library.
Hokum: Irish Folklore Meets Psychological Terror
In a remarkably short span of six years, Irish filmmaker Damien McCarthy has transitioned from an indie horror outsider to a prominent voice within the genre, with Hokum standing as one of the year’s most anticipated releases. Following his acclaimed features Caveat (2020) and Oddity (2024), McCarthy continues to weave a distinctive tapestry of Irish folklore and unsettling cursed objects. Hokum solidifies his reputation, offering one of the most compelling horror films of the first half of the year.
The film stars Adam Scott as Ohm Bauman, a despondent and callous author who travels to Ireland, the site of his deceased parents’ honeymoon, in an attempt to complete his best-selling "Conquistador Trilogy." The isolated hotel where he stays offers numerous distractions, including local legends of a witch imprisoned within the hotel’s locked Honeymoon Suite. Following a tragedy that preys upon Ohm’s existing guilt, he decides to remain at the hotel after its seasonal closure to investigate the spectral occurrences. Encouraged by the enigmatic local outcast and paranormal enthusiast Jerry (a scene-stealing David Wilmot), Ohm breaches the restricted Honeymoon Suite.
Despite Ohm’s staunch disbelief in the supernatural, which he dismisses as mere "hokum," he soon finds himself ensnared by horrors that exploit his deepest fears. The film forces him to confront the possibility that his torment is a deserved consequence of his actions. McCarthy orchestrates a disorienting and terrifying "funhouse" experience, where jump scares are meticulously crafted, ranging from playfully startling to profoundly shocking. Echoing the rich tradition of Irish oral and written folklore, Hokum emphasizes the importance of history and place while retaining an ancient sense of mystery inherent to the land. With a robust character arc for Ohm, haunting imagery, and memorable set pieces, Hokum delivers a truly bone-chilling experience that is poised to bring McCarthy’s distinctive voice to a wider audience. The film is set for a theatrical release on May 1st.
Obsession: A Wish Gone Terribly, Terrifyingly Wrong
Curry Barker’s Obsession crackles with an electrifying energy that lingers long after the credits roll. Barker, who garnered a significant following on YouTube for his anxiety-inducing short films and comedic sketches, elevates his craft in his first theatrical feature, delivering one of the most unsettling, unhinged, and shocking horror films of the year. As of this writing, Obsession stands as a personal favorite, a film so impactful that a rewatch is not only desired but felt necessary to fully process its terrifying implications.
The film follows Bear (Michael Johnston), a timid and somewhat pathetic music store employee harboring unrequited feelings for his childhood friend and co-worker, Nikki (Inde Navarette). Unable to muster the courage to confess his love, Bear turns to a "One Wish Willow," a novelty item purchased from a local crystal shop, wishing for Nikki to love him more than anyone else in the world. To his astonishment, the wish is granted, but at the devastating cost of Nikki’s personality and sanity. Bear’s friends, Ian (Cooper Tomlinson, a frequent Barker collaborator) and Sarah (Megan Lawless), witness the disturbing transformation. What initially appears to be Bear’s dream come true quickly becomes suffocating as Nikki becomes an inseparable, and increasingly unsettling, presence. The transformation intensifies, revealing that the entity now claiming to be Nikki is no longer the woman Bear loved. The specific details of this horrifying metamorphosis are best experienced firsthand, but the mental and physical alterations Nikki undergoes have irrevocably invaded the reviewer’s nightmares.
Despite his early career stage, Barker demonstrates a seasoned understanding of what truly scares and amuses audiences, tapping into contemporary social anxieties with remarkable precision. His multifaceted directorial skills are evident throughout. His editing prowess, marked by an almost preternatural sense of timing, elicits the strongest emotional responses. His ability to craft characters whose dialogue feels authentic, mirroring everyday conversations, grounds the film in a suffocatingly relatable reality. The performances are exceptional, with Navarrette’s portrayal being particularly standout. Her performance is so profoundly affecting that it left the reviewer shaking, tears streaming down their face from a mixture of laughter and sheer terror. Navarrette’s uncanny facial expressions and vocal modulations are truly supernatural, delivering a performance that is destined to be discussed for years to come. Obsession is a film that demands to be seen on the biggest screen possible, shared with a crowd capable of gasping, laughing, and screaming in unison. The film is set for a theatrical release on May 15th.
Saccharine: The Lethal Cost of Self-Improvement
Natalie Erika James, known for her critically acclaimed works Relic and Apartment 7A, brings a disturbing new dimension to the body horror genre with Saccharine, focusing on the perilous world of weight loss drugs. The film centers on Hana (Midori Francis), a med student grappling with insecurities about her weight and an intense crush on her gym’s trainer, Alanya (Madeleine Madden). Desperate for change, Hana accepts an experimental, unapproved weight loss pill from a former classmate. Lacking the funds to purchase the medication, she uses her university’s lab to reverse-engineer its composition, only to discover it is made from human ash. Driven by her desire for Alanya’s affection and unable to control her binge eating, Hana begins to process parts of a cadaver, designated for her medical studies, into the pills.
Despite concerns from her friend Josie (Danielle Macdonald) and Alanya regarding her rapid weight loss, Hana develops an uncontrollable dependency on the drug. Her descent intensifies as she begins to see the spectral apparition of the cadaver she has been consuming. This ghostly figure grows larger and more intrusive, asserting an increasing influence on the living world as it begins to consume Hana from within. Saccharine promises to spark significant debate, offering a complex and often uncomfortable exploration of body dysmorphia and body acceptance culture. Regardless of individual interpretations of its messaging, James’s film is visually stunning, replete with overlapping, visceral imagery and a pervasive sense of dread, delivering potent scares relevant to the contemporary discourse surrounding diet culture. Saccharine is slated for release on Shudder later this year.
Trauma, or Monsters All: A Modern Monster Mash with Societal Resonance
Larry Fessenden, a luminary of the independent horror scene and an influential figure for many filmmakers showcased at the festival, concludes his ambitious monster quadrilogy with Trauma, or Monsters All. This monumental film unites iconic characters from his previous works: the vampire Sam (Fessenden) from Habit (1995), the Frankenstein’s monster figure Adam (Alex Breaux) from Depraved (2019), and the wolf man Charley (Alex Hurt) from Blackout (2023), creating a "monster mash" over three decades in the making. The narrative unfolds as Cassandra (Laetitia Hollard), a young biracial writer, relocates to Talbot Falls to research the life of revolutionary scientist George Washington Carver. Her focus soon shifts as she becomes intrigued by the town’s local history and persistent rumors of monstrous inhabitants, particularly after spotting a Frankenstein-like figure outside her window.
Driven by a journalistic imperative, Cassandra publishes an article detailing her findings, inadvertently placing a target on her back for those invested in suppressing the town’s secrets. This also threatens the fragile peace established by Adam and Charley, who have found a semblance of quiet existence on the outskirts of town. Meanwhile, the vampire Sam arrives in Talbot Falls, drawn by rumors of the other creatures, and escalates the conflict by transforming Charley’s troubled love interest, Sharon (Addison Timlin), into a vampire. Simultaneously, the sinister Polidori (Joshua Leonard) reappears, seeking to reclaim Adam, whom he views as a valuable asset. As Cassandra finds herself ostracized in her new home and hunted by both a racist faction and the very monsters she exposed, she and her love interest, Agnes (Aitana Doyle), are compelled to re-examine their responsibilities to history and themselves.
Trauma serves as a poignant homage to the classic Universal Monster films, even featuring a direct recreation of the poster art for Frankenstein Meets the Wolf Man (1943) during a climactic battle between Adam and Charley. However, in true Fessenden fashion, the film transcends mere homage to offer a profound commentary on contemporary American society. It challenges the very definition of "monster" in the modern era, weaving in crucial themes of race, sexuality, history, and environmentalism to explore how narratives are shaped and disseminated. The film posits that society has become dangerously distracted by manufactured enemies, while the true monsters lurk in plain sight, often occupying positions of power. While acknowledging the critical importance of remembering history, Fessenden highlights the transformative potential of individuals like Carver, whose work offers pathways to a more enlightened future. The film suggests that revolution can be found not only in the study of past oppressions but also in the advancements of science and art. Trauma, both personal and collective, has profoundly shaped individuals and the nation, but to move forward and enact meaningful change, a release of past burdens is necessary, fostering unity and equipping society to confront the true monsters with greater intelligence and resilience. Fessenden’s latest work continues the thematic threads established in his debut feature, No Telling (1991), and his initial Frankenstein film, offering not definitive answers but rather crucial ideas for navigating the complex horrors of the present day.
