• March 25, 2026 | New Orleans, LA – The Overlook Film Festival, the annual celebration of all things horror, announced today the full schedule for its 10th anniversary edition, including a surprise new film section and live events. Taking place April 9 April 12 in America’s most haunted city, New Orleans, Louisiana at the Prytania Theatres, the horror festival announced fifteen additional films, nearly doubling the size of its features lineup, as well as new immersive events, presentations and parties. The full festival schedule can be found at overlookfilmfest.com/schedule.

    The new additions to the lineup bring the festival total to 62 films (36 features and 26 shorts) from 10 countries, as well as 10 live events and six immersive experiences, making this the largest and most varied Overlook lineup in the festival’s history.

    Highlighting the additions is a brand new film section, Side Shows. In a first for The Overlook, this section will feature upcoming genre films which may fall outside of horror but still feel tailor-made for the world of the Overlook. Those include IFC’s Over Your Dead Body, the latest work from comedic mastermind Jorma Taccone (The Lonely Island), who will be on hand to present this action-comedy in which a married couple (Jason Segel and Samara Weaving) use a romantic getaway as an excuse to plot each other’s murder; Magnolia’s Normal, an action thriller, from genre-bending director Ben Wheatley, about a small town sheriff (Bob Odenkirk) who, following a local bank robbery, uncovers a web of dark dealings in the place he calls home; and Lionsgate’s The Furious, from director Kenji Tanigaki, in which a desperate father teams up with a street-smart journalist as they fight their way through an international criminal network in a desperate bid to save his daughter.

    “Over the years, as the Overlook has grown, we’ve been looking at ways to incorporate other genres into the program,” said Michael Lerman, co-founder and Director of Film Programming of The Overlook Film Festival. “Obviously, the heartbeat of the festival is horror, but we wanted to showcase some films that may fall outside that description but include the same kinds of thrills and chills, the same amounts of tension and gore and artistry that you can expect from anything in the Overlook program. We truly love these movies and we think the audience will too.”

    Other exciting additions to the packed film lineup include Affection, in which a woman tries to adjust to life back home after a brutal accident which causes her memory to reset; American Dollhouse, where an unsuspecting woman becomes the object of her psychotic neighbor’s obsession; the darkly hilarious Buddy, straight from the unique mind of writer/director Casper Kelly (Too Many Cooks), in which a girl and her friends must escape from a magical tv show mascot when he can no longer keep his murderous tendencies to himself; Simon Glassman’s cutting-edge creepshow Buffet Infinity, which tells the story of rival restaurants competing for their town’s business, told entirely through fake commercials; Capturing Bigfoot, an investigation into the most analyzed and debated 59 seconds of film in history; the gory and campy CRAMPS! A Period Piece, our Local Spotlight film from Overlook alum (and previous Grand Jury Award-winner) Brooke H. Cellars, which depicts a young woman whose quest to defy her family is upended when her menstrual cramps manifest themselves as actual monsters; Flush, a gross-out festival favorite about a well intentioned drug addict who finds himself with his head stuck in a toilet; Grind, a hilarious and terrifying anthology featuring four distinct stories examining modern work culture; Mārama, a bone-chilling kiwi gothic horror in which a Māori teacher travels to the manor of a wealthy whaler in search of buried truths about her family; The Restoration at Grayson Manor, where, after a freak accident leaves him handless, the proprietor of the titular manor is given a set of prosthetics controlled by his subconscious; and Suffocation, a chilling Taiwanese twist on J-horror tropes which follows a group of elite high school swimmers who find themselves cursed by a mysterious evil.

    In addition to these upcoming features, a thrilling new retrospective showing was announced of Demon Lover Diary. Often considered a prototype for films like American Movie, the Overlook is proud to present an extremely rare 4k screening of this hilarious and horrifying portrait of ambition gone off the rails from the late pioneering cinema verité filmmaker Joel DeMott. The film’s subject, Jeff Kreines, will be on hand for this unique experience. 

    Of course it wouldn’t be the Overlook without live celebrations as well, and this year’s 10th anniversary lineup features no shortage of them. Making their triumphant return to the Overlook will be The Boulet Brothers, who will be kicking off their new tour with The Boulet Brothers’ Dragula: Titans Tour, a live show combining shocking performances, cinematic visuals and incredible monsters into an unforgettable combination that only they could create.   

    Wrapping up the festival will be the Closing Night Party: Théâtre des Vampires. 50 years ago to the exact date, on April 12th, 1976, Anne Rice published the New Orleans classic and global phenomenon Interview With The Vampire, and forever changed the lore, mythos, history and perception of the Vampyre. This party will celebrate the endless oblivion of eternal night with an evening that recreates the city’s ethereal relationship with vampires in all their forms.

    “It’s been such a thrill to host some of the most innovative and bizarre screenings and events each year at the Overlook, but it’s truly special to be able to help re-introduce one of the all-time great works of American cinema, with this extremely rare showing of Demon Lover Diary,” said Landon Zakheim, co-founder and Executive Director of the Overlook Film Festival. “It’s an honor to welcome back The Boulets as they kick off their new tour right here, and to hold our annual carnival of horrors during the exact date that Anne Rice’s Interview With The Vampire turns 50 all feels like it was meant to be. New Orleans is a magical place and we’re lucky that all of the wild events that make up our circus get to be part of the magick.”

    The festival’s acclaimed immersive program, presented by American Immersion Theater, has expanded with three new additions; a remounted edition of an acclaimed thriller from 2023, Claws is a terrifying interactive experience for an audience of one where you must choose whether to help the monster in your closet; The Pumpkin Pie Show Presents: One-On-Ones is another returning favorite, this one created by acclaimed writer Clay McLeod Chapman (The Restoration at Grayson Manor), which takes one audience member on a sometimes humorous, sometimes heartbreaking ride through the domestic horrors of the everyday; and Rebozo, an extremely limited series of audio performances told over six phone calls that occur over the course of two days, which only a lucky select few at the Overlook will get to experience.

    Among the panels and live events at the festival will be U R Hell: Techno Terrors in the 21st Century, a discussion on how horror and genre fans connect today in an age where the way we consume media has completely changed; Fear Factors: Alt-Horror Experiences, in which some of the boldest voices in their mediums celebrate the ways horror can venture beyond the screen into daring new art forms; and The Boulet Brothers’ House of Horror Hosts: Past, Present, and Undead, where Dragula creators Dracmorda and Swanthula Boulet give a haunting and hilarious deep dive into the art of horror hosting as they prepare to embark on their Dragula: Titans Tour.

    Finally, the jury members who will be determining the film prizes at this year’s Overlook were announced. The Features Jury is made up of Vera Drew, the multi-hyphenate whose debut film, The People’s Joker, was released in 2024, garnering acclaim and a Film Independent Spirit Award nomination; Jongsuk Thomas Nam, whose roles include that of festival programmer for the Bucheon International Fantastic Film Festival, curator of AFTER DARK at MAMI Mumbai Film Festival and managing director of the Network of Asian Fantastic Films; and Jen Yamato, the award-winning journalist, formerly with the Los Angeles Times, where she reported on the movie beat, contributed film criticism and co-hosted and co-created the Asian Enough podcast. The Shorts Jury is comprised of author and film critic Payton McCarty-Simas, whose writing has been featured in The Hollywood Reporter, Fangoria, Little White Lies and others; award-winning playwright, podcaster and writer Sharai Bohannon, who is one half of the Blerdy Massacre podcast team also hosts A Nightmare on Fierce Street and serves as co-EIC at Horror Movie Blog; and writer/director Jenn Wexler whose directorial debut, The Ranger, premiered at SXSW and was released by AMC Shudder.

    The festival is programmed by Co-Founders Landon Zakheim & Michael Lerman; Programmer Daniel Crooke; Short Film Programmer Katie Rife; and Programming Manager Cameron Asharian.

    The full lineup of films, experiences, live events and immersive content is included below, with additional programming to be announced as the festival approaches. 

    NEW ADDITIONS

    Side Shows

    Genre diversions from horror tailor-made for the world of the Overlook. 

    Presented by Magnolia Pictures 

    The Furious

    Director: Kenji Tanigaki

    Cast: Miao Xie, Joe Taslim, Yang Enyou, Brian Le, Joey Iwanaga

    Hong Kong SAR China, 2026

    When his daughter Rainy is abducted, humble tradesman Wang Wei is thrust into a deadly underworld of corruption and violence. His only ally is Navin, a relentless journalist haunted by his own past. Together, they fight their way through an international criminal network in a desperate bid to save Rainy and uncover the truth.

    Normal

    Director: Ben Wheatley 

    Cast: Bob Odenkirk, Henry Winkler, Lena Headey

    United States, 2025

    Genre-bending director Ben Wheatley (Kill List, Sightseers) returns with a razor sharp action thriller about a small town sheriff (Bob Odenkirk) who, following a local bank robbery, uncovers a web of dark dealings in the place he calls home.

    Over Your Dead Body

    Director: Jorma Taccone

    Cast: Jason Segel, Samara Weaving, Timothy Olyphant, Juliette Lewis, Paul Guilfoyle, Keith Jardine

    United States, 2026

    Pitch-perfectly directed by Jorma Taccone (Popstar: Never Stop Never Stopping, The Lonely Island), this action-comedy remake of Tommy Wirkola’s The Trip follows a husband and wife (Jason Segel and Samara Weaving) who take a remote weekend getaway as an opportunity to secretly plot to kill each other.

    New Feature Film Presentations

    International Titles Presented by MUBI 

    Affection

    Director: BT Meza

    Cast: Jessica Rothe, Joseph Cross, Julianna Layne

    United States, 2025

    Ellie wakes up after a brutal car accident, discovering that she has a rare condition that frequently resets her memory. As she tries to assimilate back into life with her husband and daughter in their secluded home, she starts to get the unsettling feeling that not everything is what it seems.

    American Dollhouse

    Director: John Valley

    Cast: Hailley Lauren, Kelsey Pribilski, Tinus Seaux, Danielle Evon Ploeger, Richard C. Jones

    United States, 2025

    After inheriting her childhood home, an unsuspecting woman becomes the object of her psychotic neighbor’s obsession, spiraling her down a violent path of stalking and possession that can only lead her to an extremely bloody Christmas.

    Buddy

    Director: Casper Kelly

    Cast: Cristin Milioti, Delaney Quinn, Topher Grace, Keegan-Michael Key, Michael Shannon, Patton Oswalt

    United States, 2026

    From the unique and twisted mind of iconic writer-director Casper Kelly (Too Many Cooks, Yule Log) comes the tale of a courageous girl and her friends who must fight to escape the sinister clutches of a kid’s television show.

    Buffet Infinity

    Director: Simon Glassman

    Cast: Kevin Singh, Ahmed Ahmed, Brandon Vanderwall

    Canada, 2026

    Told entirely through a series of fake commercials, Simon Glassman’s cutting-edge creepshow is the story of rival restaurants competing through local TV marketing for their town’s business… and maybe more. What is going on in Westridge County?

    Capturing Bigfoot

    Director: Marq Evans

    Cast: Clint Patterson, Bob Gimlin, Bob Heironimus, Larry Lund, Greg Long, Vaile Thompson, Sandy Collier, Bill Munns

    United States, 2026

    On October 20, 1967, Roger Patterson captured 59 seconds of film showing a creature walking through the Northern California woods—footage that became the most analyzed and debated in history. Fifty-seven years later, a reel of 16mm film discovered in a safe changes everything.

    CRAMPS! A Period Piece

    Local Spotlight

    Director: Brooke H. Cellars

    Cast: Lauren Kitchen, Vincent Stalba, Jared Bankens, Martini Bear, P*$$y D’lish, Wicken Taylor

    United States, 2025

    In a fanciful technicolor town full of dueling beauty shops, drag queens and midcentury flair, a young woman’s quest to defy her family is upended when her menstrual cramps manifest themselves as actual monsters. At once gory and campy, Overlook alum (and previous Grand Jury Prize winner) Brooke H. Cellars makes their feature debut with a film that’s as fun as it is horrific.

    Flush

    Director: Grégory Morin

    Cast: Jonathan Lambert, Élodie Navarre, Rémy Adriaens, Elliot Jenicot

    France, 2025

    All Luke wanted to do was win his girlfriend back. Finding himself on the bad end of a drug deal gone wrong, this well-intentioned cocaine addict is now trapped with his head stuck in a squat toilet. Desperate for escape, Luke must contend with ruthless gangsters, a mischievous rat and a barrage of other shit (literally) if he’s going to survive the night in this gross-out festival favorite.

    Grind

    Director: Brea Grant, Ed Dougherty, Chelsea Stardust

    Cast: Barbara Crampton, Rob Huebel, Christopher Rodriguez-Marquette, Vinny Thomas, Jessika Van, James A Janisse, James Urbaniak

    United States, 2025

    Overlook alums Brea Grant, Ed Dougherty and Chelsea Stardust return with a hilarious and terrifying anthological look at modern work culture. Featuring four distinct stories (including Overlook hit MLM), this zany, bloody, wacko tale of inequality is sure to galvanize anyone who has ever felt lost in a sea of menial repetitious tasks.

    Mārama

    Director: Taratoa Stappard

    Cast: Ariana Osborne; Toby Stephens; Umi Myers

    New Zealand, 2025

    Set in on the moors of 1859 North Yorkshire, this gothic horror follows a Māori teacher who travels to the manor of a wealthy whaler in search of buried truths about her family. What she finds there is something far more threatening – dark secrets that define the grim legacy of the British empire in this bone-chilling Kiwi tale.

    The Restoration at Grayson Manor

    Director: Glenn McQuaid

    Cast: Chris Colfer, Alice Krige, Daniel Adegboyega, Declan Reynolds, Gabriela Garcia Vargas, Matthew McMahon

    Ireland, 2024

    When a freak accident leaves the proprietor of Grayson Manor handless, his overbearing mother turns to an experimental treatment, giving him a set of prosthetics controlled by his subconscious. From the twisted mind of writer Clay McCleod Chapman (The Pumpkin Pie Show) and director Glenn McQuaid (I Sell the Dead) comes this sexy, pulpy, Warhol-coded romp.

    Suffocation

    Director: Louis Chan, Stone Chang 

    Cast: Yao Ai Ning, Wang Yu Ping, Chu Meng Syuan, Julia Huang, Rainie Dun, Helen Wang, Chun Hong

    Taiwan, 2026

    Told through a haunting series of Steadicam shots, this chilling Taiwanese twist on J-horror tropes follows a group of elite high school swimmers who find themselves cursed by a mysterious evil after releasing a video that exposes a teacher-student relationship.

    New Retrospective Film Presentation

    Demon Lover Diary

    Director: Joel DeMott

    Cast: Joel DeMott, Jeff Kreines, Donald G. Jackson, Jerry Younkins

    United States, 1980

    Jeff, a documentary filmmaker, is shooting a low-budget horror film for Don and Jerry, two Michigan factory workers. Jeff’s girlfriend Joel tags along, making a diary film. What could possibly go wrong? The Overlook Film Festival is proud to present an extremely rare 4K screening of this hilarious and horrifying portrait of ambition gone off the rails from the late, pioneering cinema verité filmmaker Joel DeMott.

    Panel Presentations

    Presented by SAGIndie

    The Boulet Brothers’ House of Horror Hosts: Past, Present, and Undead

    From local late-night broadcasts to the global reach of streaming, the Queens of Darkness, The Boulet Brothers (Dracmorda and Swanthula), trace the evolution of one of horror’s most enduring traditions: the art of horror hosting. In this lively and unfiltered conversation, they explore the legacy of iconic figures like Vampira, Elvira, Vincent Price and The Crypt Keeper, the rise of horror entertainment from local television to immersive experiences like Knott’s Scary Farm, and how they’ve reimagined the format for modern audiences through The Boulet Brothers’ Dragula and their original scripted holiday specials on Shudder.

    Featuring never-before-seen materials gifted directly to the Boulet Brothers from Vampira herself (including rare poems and original artwork), this special presentation offers an intimate and unprecedented glimpse into horror history while charting the future of the genre. Blending glamour, filth and fright, the Boulet Brothers reveal what it takes to build a new generation of horror hosting, and why the role still matters today.

    Fear Factors: Alt-Horror Experiences

    Panelists: Ben Blacker (“The Thrilling Adventure Hour”), Marita Crandle (Boutique Du Vampyre), Jassy (Choke Hole), Ash LeTourneau (LA By Night, Overlook Film Festival), Evan Neiden (Candle House Collective). Moderated by Angel Melanson (FANGORIA)

    A celebration of all things horror must venture beyond the screen into daring art forms both new and old that challenge the way we experience art. Bringing fans together in interactive and inspiring ways through music, theater, gaming, haunted houses, immersive activations, radio plays and experimental performance, there truly is no end to where the genre can take the curious. Hear from some of the boldest voices in their mediums and learn what it takes to create the next frontier.

    Independent Spirits: Genre Filmmaking From The Trenches

    Moderated by Kimberly Leszak (FANGORIA)

    If it’s easier than ever to make a film, then why is it so damn hard? And how come every time you get through the hardest part, then next comes the hardest part? Why do we go through our own horror movie just to make a horror movie? Some of the most exciting festival alums and filmmakers from our program will walk us through how they got it done when it counted, and where we go from here.

    U R Hell: Techno Terrors in the 21st Century

    Panelists: James Janisse & Chelsea Rebecca (Dead Meat), Angel Melanson (FANGORIA),Vera Drew (The People’s Joker). Moderated by Phil Nobile Jr. (FANGORIA)

    The internet was supposed to change everything. And then it did. The apocalypse has been unleashed and has transformed the way we consume media But within these hellsites, communities have formed and new ways to make, celebrate and promote our favorite genre thrive. How does horror connect today? What makes a grassroots success story? Log in and find out.

    Special Event Presentations

    The Boulet Brothers Present: The Overlook Festival’s Final Nightmare- The Boulet Brothers’ Dragula: Titans Tour Kickoff

    Close out the Overlook Film Festival with its final after-dark event. As the festival ends, The Boulet Brothers invite you into one last descent into horror with the kickoff of The Boulet Brothers’ Dragula: Titans Tour, a live stage spectacular blending shocking performances, cinematic visuals and unforgettable monsters. Part live show, part closing-night celebration, this special event serves as the festival’s ultimate sendoff. Overlook attendees receive 25% off tickets for this exclusive finale.

    Closing Night Party: Théâtre des Vampires

    50 years ago on April 12th, 1976, Anne Rice published the New Orleans classic and global phenomenon Interview With The Vampire, and forever changed the lore, mythos, history and perception of that most magnificent of creatures – the Vampyre. Celebrate the endless oblivion of eternal night with an evening that recreates the city’s ethereal relationship with vampires in all their forms on this most hallowed of dates.

    Horror Trivia

    FREE EVENT

    Presented by Daily Dead

    Test your fright — if you dare. Join Daily Dead’s Jonathan James, for our annual horror trivia night. Prizes, drinks and four ghoulish rounds of only mildly obscure nuggets you’ll definitely know, and all of those sequel subtitles you’ll definitely wish you didn’t. Scare yourself with how much you actually know about horror.

    Opening Night Party: Welcome To Hell

    We opened last year’s festival by declaring 2025 “the worst year of our lives but a great year for horror!” Well, since then things have only gotten worse. We live in Hell so we might as well get used to it with a demonic opening night party that embraces the fire and brimstone of our descent in madness. Synthwave DJ sets hosted and curated by electronic artist Destryur of Nola’s own Splatterday Night.

    Vampire Market

    Presented by Boutique Du Vampyre

    In honor of our Queen of the Damned, a bizarre bazaar dedicated to all things dark, creepy and vampiric materializes at festival headquarters on Sunday April 12th, the exact date marking the 50th anniversary of the publication of our sacred tome, Interview With The Vampire. With ghoulish delights abound, you never know what you might find. Or what might find you. 

    New Immersive Presentations

    Presented by American Immersion Theater

    The festival’s unique interactive live theatrical horror experiences for small audiences return with fresh offerings for the brave and mysterious.

    CLAWS

    Creator: Evan Neiden / Candle House Collective

    “You believe me, don’t you?” You get a call from a young man named Danny. There’s a monster in his closet, and he needs your help. But as the call goes on and more sinister intentions are revealed, it begs the question: which side of the closet door is the danger really on? Claws is a 45-minute interactive thriller for one person to experience via a phone call. It’s a spine-chilling realization of childhood nightmares, exploring themes of trust, identity and forgiveness. Your choices matter as the story unfolds, in an experience critics have called “bold and risky” and “the scariest immersive experience we’ve ever had.”  A remount of our 2023 performance for new audiences to experience.

    THE PUMPKIN PIE SHOW PRESENTS: ONE-ON-ONES

    Creator: Clay Mcleod Chapman

    A returning favorite after a long hibernation, acclaimed writer Clay McLeod Chapman (The Restoration at Grayson Manor) will take one audience member at a time on a 20-minute dark ride through the domestic horrors of the everyday. Sometimes darkly humorous, sometimes strangely heartbreaking, this immersive storytelling experience is Edgar Allan Poe for the modern age; a heart-to-bleeding-heart with madmen, murderers and monsters all dying to tell their story. No fourth wall, no escape.

    REBOZO

    Presented by Charming Stranger

    Creator: Evan Neiden / Candle House Collective

    There are always two sides to a story. At least. They’re here to mend; you’re here to help. Thank you for volunteering to be a connector for Rebozo Reconnections. Rebozo is a story for one person told over the phone over 6 phone calls that occur over two days; totaling 3 hours. Trigger warning for disturbing content. Only a select few will get to experience this extremely limited series of audio-performances.

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  • Found via Google Images.

    On May 31st I went to a 10:20 pm showing of Bring Her Back. Despite the late hour—which would have caused me to at least doze off—I was alert and awake for the whole film. Moreover, since that day I have thought about this film often: the themes, the story, the tragedy and grief and horror on display stuck with me and resonated with me on a deep, deep level. It stirred up emotions and thoughts that I had not realized were logjammed in my emotional state.

    The film is grief incarnate, and the story from the get go—a cult committing suicide on fuzzy VHS, kids finding their dead dad—-lets us know that there will not be a happy ending to this. That is ok though because what the filmmakers spend the runtime doing from that point forward created the single most memorable theater experience I had in 2025 (closely followed by the joyfulness brought on by The Toxic Avenger and the Nazi massacre of Silent Night, Deadly Night). Every scene of the film drips with anguish and dread and anxiety as the newly orphaned kids try to navigate the circumstances that they find themselves in. Then the plot adds an incredible supernatural element and we have one of the most effective horror films of the 2020’s and the best film of 2025. 

    I read a few reviews that critiqued the film for its brutality and intensity, and I read others that claimed the film made no sense. I find both kinds of reviews to be reductive and silly. The brutality was the point, and the film made perfect sense. It was a masterclass in story telling and in cinematography. It was incredibly acted. The sound design was immaculate. The FX were top notch and gnarly. So why was it left out of the awards season?

    It is too hard to watch. 

    It is a legitimately scary movie.

    Not since The Exorcist have we had a film that was that hard to watch win an Oscar, a film as bleak as The Exorcist  is not going to get a nomination any time soon. Especially not with the political climate being what it is, and so we got the crop of cathartic nominees that we got. I understand why it happened but I hate that it did happen. I mean Sally Hawkins at least should have gotten a nod beyond the Chainsaw Awards from Fangoria.

    Her performance was incredible. She haunted my nightmares for weeks after the credits rolled and while I did love Weapons and Sinners I did not have the same reaction to those films that I had to Bring Her Back. I am well aware that my reactions to a film do not merit an Oscar but I suppose that my visceral reaction is what is fueling this article. I had a deeply emotional reaction to this film and I imagine that everyone who watched did too and I think that made everyone very uncomfortable. Uncomfortable films don’t win awards. Films in which everything turns out alright are the ones the Academy wants front and center right now and I can’t say I blame them.

    Stay tuned for a massive article that is part review and part rumination on the themes and films of last year, important I think because we are headed into the thick of blockbuster season and there is a dearth of new horror on the way. We should look back to see if the powers that be and the zeitgeist have moved on or if they are still locked into last year’s themes.

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  • TENTH ANNUAL CELEBRATION OF ALL THINGS HORROR WITH FIRST WAVE LINEUP

    Focus Features’ Obsession, NEON’s Leviticus and Hokum Highlight Festival Full of 2026’s Most Eagerly Anticipated Horror Films and New Discoveries 

    March 11, 2026 | New Orleans, LA – The Overlook Film Festival, the annual celebration of all things horror, today announced the first wave of the lineup for its momentous, tenth annual edition in New Orleans, Louisiana. Taking place April 9 April 12 at the Prytania Theatres, the horror festival welcomes audiences back to America’s most haunted city with a terrifying selection of new and classic films as well as the extensive offscreen offerings including interactive events, live performances, immersive programming and special guests for which the annual horror staple has become known. 

    “It somehow seems appropriate that our tenth year features a plethora of nerve rattling tales, many of which touch upon the theme of identity,” said Michael Lerman, co-founder and Director of Film Programming of The Overlook Film Festival. “This program is an equal mix of

    returning beloved filmmakers and staggeringly talented new voices, showcasing the heart of what we ourselves identify as: an ever-growing community with a shared love of being terrified.” 

    This packed initial festival lineup includes 47 films (21 features and 26 shorts) from seven countries, as well as immersive experiences, live presentations and horror-themed celebrations, with many more exciting films and surprises to be announced as the festival approaches. 

    In true New Orleans fashion, the tenth anniversary festivities will kick off on April 9 with the return of the celebratory, horror-themed Second Line Parade through the streets of the city, presented by Shudder, the iconic horror curation and streaming service. Bigger and bolder than ever before, this parade will make its way through the French Quarter featuring a demonic brass band, creepy characters and plenty of surprises! 

    This will all lead to a screening of the Opening Night film, Obsession, Focus Features’ upcoming story of wish-fulfillment-gone-wrong. Written and directed by Curry Barker, Obsession tells the story of a lovelorn 20-something whose wish upon a novelty toy turns more terrifying than he could have imagined. 

    The screenings continue throughout the weekend, including the Centerpiece showing of NEON’s highly anticipated story of terror and desire, Leviticus. From director Adrian Chiarella, Leviticus is an equally terrifying and sensitive coming of age story in which two teenage boys must confront a violent entity that takes the form of what they desire the most: each other. 

    Bringing the celebration to an end will be the Closing Night screening of Hokum, from returning director Damien McCarthy, whose previous film, Oddity, took home the Overlook Audience Award in 2024. Adam Scott stars as a cynical writer who, upon traveling to an Irish inn to scatter his parents’ ashes, finds himself consumed by tales of a witch haunting the honeymoon suite. 

    Additional festival highlights include the world premiere of Larry Fessenden’s new film, Trauma, or Monsters All, the final film of his personal quadrilogy, bringing together the creatures from the previous films in the horror master’s long and varied career. As part of this premiere showcase, the Overlook will also be screening the first three films from the Fessenden-verse which lead up to his new opus, including previous Overlook inclusions Blackout and Depraved, as well as his 1995 classic Habit

    Other upcoming films include Chili Finger, from directors Edd Benda and Stephen Helstad and starring Judy Greer, Bryan Cranston, Sean Astin and John Goodman, about a blackmail plot

    that spins out of control in bloody, unpredictable ways; Drag, directed by Raviv Ullman and Greg Yagolnitzer and starring Lizzy Caplan, Lucy DeVito and John Stamos in a twisty story of a simple burglary gone wrong thanks to a bad back; Daniel Goldhaber’s Faces of Death, filmed locally in New Orleans and starring Barbie Ferreira, Dacre Montgomery and Charli XCX, is a thrilling take on the modern remake in which a social media moderator comes across visceral snuff videos which bear a shocking resemblance to a mythical cult film; and David Kittredge’s star-studded documentary, Boorman and the Devil, about director John Boorman’s creation of the maligned sequel to The Exorcist, one of the most ambitious bombs in horror movie history. 

    Continuing the Overlook’s history of celebrating the films and icons that have elevated horror to where it is today, the legendary Rick Baker will be on hand to receive the festival’s prestigious Master of Horror Award. A self-described “monster kid” who went on to create some of cinema’s most innovative characters, Baker turned his passion into a decades-long career that forever changed the art of movie makeup. The award presentation will include a 45th anniversary screening of An American Werewolf in London. Selected by the master himself, this is the film for which he was presented with the first ever Academy Award for makeup (an award which he has gone on to win a record seven times). Past recipients of the Master of Horror Award include Roger Corman, Ernest Dickerson, Mick Garris, Mike Flanagan, Stuart Gordon and Joe Dante. 

    There will also be a special, 100th anniversary screening of Teinosuke Kinugasa’s classic horror film, A Page of Madness. Considered the first Japanese horror film ever made, this masterpiece was believed lost for 45 years before being rediscovered by the director within a rice barrel he had kept in storage. The film will be screened with a live score composed by acclaimed New Orleans-based composer and musician Jeff Pagano and performed by a local six-piece orchestra. 

    “There’s no greater thrill than bestowing our dark carnival in the illustrious city of New Orleans to all the spirits who flock to it each year and bring it to terrifying undead life,” said Landon Zakheim, co-founder and Executive Director of the Overlook Film Festival. “At a time when it’s become so hard to simply exist in this world, it is truly a gift to be able to gather together in the dark with homespun nightmares and haunted tales with all the people who give this space meaning. We exist because of your dedication, and for that we will repay you in blood, rituals, sacrifices, curses, demons and creatures we dare not name. After all, life’s no fun without a good scare.” 

    In addition to the films, the Overlook Film Festival’s signature, one-of-a-kind immersive program, featuring interactive projects and experiences, returns this year with three mind-bending presentations. These include Eternal, an immersive audio experience created by

    Darkfield, where a single person, alone in their bed, is presented with a tempting offer of immortality; Hag, from The Queen’s Fools, where Shakespeare’s Weird Sisters lead a creepy and silly experience that asks audience members to help clear out some squatters by any means necessary; and The Mother of Nightmares, a surreal and darkly comedic one-on-one experience from returning Overlook creators E3W Productions and All of Them Witches, where you’re brought face to face with the mischievous figure who creates all of your worst dreams. 

    The festival is programmed by Co-Founders Landon Zakheim & Michael Lerman; Programmer Daniel Crooke; Short Film Programmer Katie Rife; and Programming Manager Cameron Asharian. 

    The current lineup of films, experiences, live events and immersive content is included below, with additional programming to be announced as the festival approaches. 

    Opening Night Film 

    Obsession 

    Director: Curry Barker 

    Cast: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter United States, 2025 

    Hopelessly paralyzed by his unrequited crush on one of his closest friends, a lovelorn 20-something makes a wish on a mysterious novelty toy, only to find out that his dreams are far worse than any nightmare he could imagine in this bone-chilling relationship horror. 

    Centerpiece Film 

    Leviticus 

    Director: Adrian Chiarella 

    Cast: Joe Bird, Stacy Clausen, Mia Wasikowska, Jeremy Blewitt, Ewen Leslie, Davida McKenzie 

    Australia, 2026 

    Two teenage boys must escape a violent entity that takes the form of the person they desire most — each other. 

    Closing Night Film 

    Hokum 

    Director: Damian McCarthy 

    Cast: Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Will O’Connell, Michael Patric, Siox C, Brendan Conroy, Austin Amelio, Ezra Carlisle 

    United States, Ireland, 2026

    When novelist Ohm Bauman (Scott) retreats to a remote inn to scatter his parents’ ashes, he is consumed by tales of a witch haunting the honeymoon suite. Disturbing visions and a shocking disappearance forces him to confront dark corners of his past. 

    Feature Film Presentations 

    International Titles Presented by MUBI 

    Boorman and the Devil 

    Director: David Kittredge 

    Featuring: John Boorman, Louise Fletcher, Karyn Kusama, Mike Flanagan, Joe Dante United States, 2025 

    Hot off the success of his genre defining film, Deliverance, John Boorman takes on his biggest challenge yet – a sequel to one of the most successful horror movies in history, The Exorcist. What could go wrong? This insightful documentary delves deep into the making of one of the biggest bombs in horror history. 

    Chili Finger 

    Directors: Edd Benda, Stephen Helstad 

    Cast: Judy Greer, Sean Astin, Bryan Cranston, John Goodman, Madeline Wise, Paul Stanko, Sarah Herrman, Sara Sevigny, Dann Florek 

    United States, 2025 

    When a down on their luck couple find a gruesome surprise at their favorite fast food chain, they hatch a simple blackmail plot that quickly spins their lives out of control in this bloody, Coen Brothers-esque thriller featuring an all-star cast. 

    Drag 

    Directors: Raviv Ullman, Greg Yagolnitzer 

    Cast: Lizzy Caplan, Lucy DeVito, John Stamos, Christine Ko 

    United States, 2025 

    Two sisters. One empty house. A simple burglary plan. If only one of them didn’t throw their back out… Raviv Ullman and Greg Yagolnitzer’s hilarious and twisty horror comedy is a ticking clock crawl to survival as the sibling duo must find a way out or face the dangers of being caught when the owner returns home. 

    Exit 8 

    Director: Genki Kawamura 

    Cast: Kazunari Ninomiya, Yamato Kochi, Naru Asanuma, Kotone Hanase, Nana Komatsu Japan, 2026 

    Based on the global hit video game, a man trapped in an endless sterile subway passageway sets out to find Exit 8. The rules of his quest are simple: do not overlook anything out of the

    ordinary. If you discover an anomaly, turn back immediately. If you don’t, carry on. Then leave from Exit 8. But even a single oversight will send him back to the beginning. Will he ever reach his goal and escape this infinite corridor? 

    Faces of Death 

    Director: Daniel Goldhaber 

    Cast: Barbie Ferreira, Dacre Montgomery, Josie Totah, Charli XCX 

    United States, 2026 

    A moderator at a social media platform gets thrown face-first into a macabre mystery when she uncovers a series of visceral snuff videos bearing resemblance to a mythical 1978 cult film. Starring Barbie Ferreira, this New Orleans shot slasher is a thrilling twist on the modern remake. 

    Goody Goody 

    WORLD PREMIERE 

    Director: Raymond Creamer 

    Cast: Colleen Foy, Samantha Robinson, Zoe Renee, Colby Hollman 

    United States, 2026 

    Lulled into a necessary sense of comfort during a long home birth process, expecting parents and their midwife begin to realize that something may be horribly wrong. As labor complications ensue, a blizzard rages outside trapping the family in their home – sitting ducks for whatever sinister presence might be in there with them. 

    The Holy Boy 

    Director: Paolo Strippoli 

    Cast: Michele Riondino, Giulio Feltri 

    Italy, 2026 

    Deep in the Italian mountains lives a village of some of the happiest people on earth. Their serenity is about to be broken by the arrival of the new PE teacher who is haunted by his past and determined to uncover the secret of how all of the townspeople are healed weekly by the touch of a 15-year-old boy with special powers. 

    Never After Dark 

    Director: Dave Boyle 

    Cast: Moeka Hoshi, Kento Kaku, Kurumi Inagaki, Mutsuo Yoshioka, Bokuzo Masana, Tae Kimura 

    Japan, 2025 

    A medium for hire, assisted by the spirit of her deceased sister, takes on the case of a grotesque apparition that haunts an isolated country home. As she peels back the layers of the spine-tingling investigation, she realizes that the greatest threats don’t lie in the world of the dead, but rather in with the living people around her.

    New Group 

    Directors: Yûta Shimotsu 

    Cast: Yuzu Aoki, Pierre Taki 

    Japan, 2026 

    From the director of the Overlook 2025 winner for Scariest Feature, Best Wishes to All, comes a terrifying new vision of youth, conformity, and authoritarianism as the students inside a modern high school are violently forced to become part of increasingly disturbing, physically demanding and surreal tasks in order to assimilate. 

    Parasomnia 

    Directors: James Ross II 

    Cast: Jasmine Mathews, RJ Brown, Sally Stewart, Stephen Barrington, Danny Brown, Simon Longnight 

    United States, 2025 

    When one of her closest friends goes missing, Riley, a young woman haunted by a lifelong battle with debilitating night terrors, must come to terms with the fact that the demonic entity that’s been stalking her dreams since childhood may have followed her home into the real world. 

    Saccharine 

    Director: Natalie Erika James 

    Cast: Midori Francis, Danielle Macdonald, Madeleine Madden 

    Australia, 2026 

    Looking for a quick weight loss fix, a medical student accepts a mysterious drug, setting her off on a path of unwanted transformation in this goopy, sickening, violent body-horror from the director of Relic

    Trauma, or Monsters All 

    WORLD PREMIERE 

    Director: Larry Fessenden 

    Cast: Alex Breaux, Joseph Castillo-Midyett, Barbara Crampton, Aitana Doyle, Larry Fessenden, Rigo Garay, Steve Heller, Laetitia Hollard, Alex Hurt, Cody Kostro, James Le Gros United States, 2026 

    An aspiring author gets more than she bargained for when she writes an article for the local paper about her small town’s dark history, prompting unwanted speculation on what monsters may lie within. Overlook mainstay Larry Fessenden returns with the thrilling conclusion to his quadrilogy, a thoughtful and fiercely independent monster mash that can be enjoyed on its own or marathoned with his three origin stories – Habit, Depraved and Blackout.

    Ugly Cry 

    Director: Emily Robinson 

    Cast: Emily Robinson, Ryan Simpkins, Aaron Domínguez, Robin Tunney, Andrew Leeds, Heather Morris, Chalia La Tour, Ray Abruzzo, Sophie Von Haselberg, Josh Ruben, and Melinda McGraw 

    United States, 2026 

    An actor’s desperate determination to break in Hollywood leads her down a frightening spiral of obsession, delusion and augmentation in this darkly comedic, Repulsion-esque thriller from first time writer-director and star Emily Robinson. 

    Retrospective Film Presentations 

    An American Werewolf in London 

    45th Anniversary Screening 

    2026 Master of Horror Award Recipient Rick Baker in Person 

    Director: John Landis 

    Cast: David Naughton, Jenny Agutter, Griffin Dunne, John Woodvine 

    United States, 1981 

    Beware the moon! Witness the most monstrous of monster transformations, one that cemented Rick Baker’s legacy and earned him his first Academy Award, unfurl on the big screen before your very eyes. Chosen by our 2026 Master of Horror recipient Rick Baker, the screening will precede a conversation with the legend himself. 

    Blackout 

    Directors: Larry Fessenden 

    Cast: Alex Hurt, Addison Timlin, Motell Gyn Foster, Joseph Castillo-Midyett, John Speredakos, Michael Buscemi, Joe Swanberg, Barbara Crampton, James Le Gros, Marshall Bell United States, 2023 

    Not your typical werewolf story, Blackout follows a painter, haunted by guilt, who becomes convinced that he is transforming at night and wreaking havoc in his small town in the third of Larry Fessenden’s four-part monsterverse series. 

    Depraved 

    Director: Larry Fessenden 

    Cast: David Call, Joshua Leonard, Alex Breaux, Ana Kayne, Maria Dizzia, Chloë Levine United States, 2019 

    The second in Larry Fessenden’s genre-bending four movie monsterverse is a millennial take on the Frankenstein myth in which a PTSD-riddled field surgeon deep in the heart of Brooklyn decides to reconstruct an unsuspecting man out of spare body parts.

    Habit 

    Director: Larry Fessenden 

    Cast: Larry Fessenden, Meredith Snaider, Aaron Beall 

    United States, 1995 

    Indie icon Larry Fessenden’s first feature, about an alcoholic New Yorker who falls for a mysterious woman with vampiric qualities, is as groundbreaking now as it was when it debuted over 20 years ago, inspiring generations of young horror filmmakers to this day. 

    A Page of Madness 

    100th Anniversary Screening with Live Score Composed by Jeff Pagano 

    Director: Teinosuke Kinugasa 

    Cast: Masuo Inoue, Ayako Iijima, Yoshie Nakagawa 

    Japan, 1926 

    A completely original avant-garde masterpiece once thought lost to time for 45 years, Japan’s first ever horror film simply must be seen. A rarity in sight and sound, this work of art will be presented with an original composition from Nola’s own Jeff Pagano (Marigny Opera House) and performed by a six piece orchestra handpicked by the maestro. 

    Live Events and Special Presentations 

    SHUDDER SECOND LINE PARADE 

    Presented by SHUDDER 

    The quintessential New Orleans art form returns with our signature horror twist courtesy of the scariest streamer around. Bigger and bolder, this year’s second line will kick off the entire festival on Opening Night. Make your way to our festival headquarters before the screenings begin, strutting through the French Quarter in style behind a demonic brass band, creepy characters both familiar and unknown, and you. We roll at 5pm. Laissez les bons temps rouler! 

    Immersive Presentations 

    Presented by American Immersion Theater 

    The festival’s unique interactive live theatrical horror experiences for small audiences return with fresh offerings for the brave and mysterious. 

    ETERNAL 

    Creator: Darkfield 

    You have been chosen and we thank you for your sacrifice. In return we offer you the opportunity for eternal life, but there are conditions. ETERNAL is a 25 minute immersive audio

    experience for one person, alone in their bed. It explores the temptation of eternal life and wonders what price you would pay to achieve it. ETERNAL was commissioned by the 2020 Bram Stoker Festival, Dublin. 

    HAG 

    Presented by Charming Stranger 

    Creator: The Queen’s Fools 

    The Weird Sisters have gotten even weirder. You have responded to a Craigslist ad from a disgruntled Landlord needing help clearing out some squatters from his recently purchased property. Pack up their things & do what you’ve gotta do to get ‘em out. Simple. Only, some squatters are better left alone. HAG is a 35-minute spooky & silly immersive experience for four audience members, led through the chaos and charm of Shakespeare’s Weird Sisters. 

    THE MOTHER OF NIGHTMARES 

    Creators: E3W Productions and AOTW 

    Step into the dream world and come face to face with the Mother of Nightmares, the mysteriously mischievous figure who creates and controls all of your worst dreams, as she guides you through this surreal and darkly comedic 1-on-1 experience from returning Overlook creators E3W Productions (IN ANOTHER ROOM). Originally performed as part of ‘The Shape of the Night’, a full-length immersive experience exploring the world of dreams and nightmares created by Overlook veteran group All Of Them Witches (AOTW). 

    Short Film Presentations 

    Short films will be presented in three themed programs: Feral, Freaky and Static

    Blister, dir. Olivia Simon, United States, 2025, WORLD PREMIERE 

    Trapped alone in a haunted room, a paranormal researcher’s experiment goes horrifically wrong. 

    Breeder, dir, Sapphire Sandalo, United States, 2025, WORLD PREMIERE A woman on the fence about having kids is hunted in her home by a demonic horse-man. 

    Carousel, dir. Christopher Kosakowski, United States, 2025 

    A circus clown celebrating his birthday alone receives a mysterious gift box harboring an antique zoetrope that spins his world into mayhem. 

    The Creature of Darkness, dir. Lisa Marie Malloy, Roy Whitaker, United States, 2026

    Darkness settles over Little Egypt. Brielle, Karri, and Nunu wander among the limestone outcrops and sandstone spires. In a cave that sheltered freedom seekers along the Underground Railroad, their uncle shares a story of a creature that stirs at night. 

    Darkroom, dir. Matthew Black, United States, 2025, WORLD PREMIERE In his home darkroom, a crime scene photographer develops pictures of a gruesome murder, and each new print comes out more unsettling than the last. 

    The Dysphoria, dir. Kylie Aoibheann, Australia, 2025 

    A trans woman performs a Satanic ritual to get a vagina, but unwittingly invites a demonic presence into her home which demands a terrible sacrifice. 

    F**k Face, dir. Dean Puckett, United Kingdom, 2025 

    A single mother and her child are put through a nightmarish ordeal when a politician knocks on their door. 

    Ghoststory, dir. Alex Jacobs, United States, 2026 

    A cursed artifact wrapped in static. 

    Haint, dir. Jahmil Eady, United States, 2025 

    When gentrifiers begin to mysteriously die, a Gullah Geechee handywoman who recently lost her home, must decide whether to help them or leave the newcomers to their fate. 

    Has Anyone Else Lost Their Body?, dir. Randall Snare, United States, 2026, WORLD PREMIERE 

    The comments on a reluctant influencer’s first viral dance video overflow with people claiming to lose their bodies after watching it. 

    He, dir. Hira Vin, Canada, 2025 

    A facility monetizes the ability of a shapeshifting entity to become the lover of their patrons’ dreams. Nancy, a woman desperate for love and affection, jumps into the rabbit hole and meets her fate when she decides not to follow facility rules. 

    Hickeys, dir. Ella Rhodes, United States, 2025, WORLD PREMIERE 

    While performing at her first concert on the hottest day of 1983, a queer runaway is horrified to discover that her bandmates are rapacious vampires preying on her vulnerability. 

    Homemade Gatorade, dir. Carter Amelia Davis, United States, 2025 

    A woman embarks on a road trip to deliver her creamy homemade sports drink to a mysterious online buyer.

    Hot Water, dir. Miles Gunter, Cassie Kramer, United States, 2025, WORLD PREMIERE A corrupt kidnapped judge has until a pot of water boils to admit to wrongdoing — or his head goes into the scalding water. 

    House Cat, dir. Kyle Spleiss, United States, 2026 

    Living out of her car and hustling gig to gig, a woman takes a last-ditch job house-sitting a cat, only to discover she isn’t there to care for the cat; she is the cat. 

    It’s Not Me, dir. Cameron Veitch, Robert J Kemp, Canada, 2025 

    After finding a girl that looks to be her exact double, Hannah decides to take over her life. But a presence seems to threaten Hannah’s ambitions. 

    Last Call, dir. Winnie Cheung, United States, 2025 

    A motorcycle rebel spirals deeper into her erotic hallucinations in order to escape the grip of a sultry serpent woman. 

    Man Eating Pussy, dir. Lee Lawson, Canada, 2026 

    A dying man seeks comfort in a mysterious sex worker whose monstrous anatomy offers not just pleasure—but the ultimate release. 

    Men (Lok), dir. Mahmuda Sultana Rima, Bangladesh, 2025 

    In a very rural village of Bangladesh, men suddenly start to disappear. The villagers start blaming the recluse ‘witch’ of the village who is known to practice black magic. But why is she making these men disappear? 

    Mother Mary, dir. Playdoh Kolo, United States, 2025 

    A shadow puppet music video for the song by Sally Baby’s Silver Dollars, blending Creole jazz, spiritual folk imagery, and hand-cut animation. 

    Nail-Biter, dir. Joseph Burch, United States, 2025, WORLD PREMIERE On the eve of her eighteenth birthday, anxious nail-biter Amy Heller confronts her mother about their so-called family curse, just as the monster arrives to claim her as its next victim. 

    Scissors, dir. Hannah Alline, United States, 2025 

    A slasher with a grudge meets his match when a group of queer friends on a weekend getaway turns his killing spree into a bloody night he never saw coming. 

    Spanked by a Ghost, dir. Katelyn Douglass, United States, 2025

    Alone in her home, a woman is spanked by an unseen entity, awakening a force she cannot control. 

    Steak Dinner, dir. Nathan Mark Ginter, United States, 2025 

    Casey’s attempted surprise dinner date gets derailed when Taylor, her girlfriend, reveals she has brought home a strange, wounded creature she intends to nurse back to health. 

    Superconscious, dir. Christianne Hedtke, United States, 2025 

    Amidst a simmering Cold War and the dawn of the Age of Aquarius, Cybil G. journeys to a far-flung human potential center to join a scientific study on so-called “psi energy.” 

    Vlog Cam, dir. Danilo Rafael Parra, United States, 2025 

    New to the city and searching for connection, May stumbles upon a discarded vlog camera in the park. 

    _____________________________________________________________________________________ 

    Important Dates 

    March 25: Additional Titles Announced + Schedule Goes Live; Advance Reservations Begin For Final Girl Pass Holders 

    March 28: Advance Reservations Begin For Camper Pass Holders 

    March 31: Individual tickets on sale 

    April 9: Festival starts 

    April 13-15: Lagniappe 

    Film stills and festival artwork available to download at http://www.overlookfilmfest.com/press To keep up to date with The Overlook Film Festival, visit overlookfilmfest.com. 

    2026 Overlook Film Festival partners include OFFICIAL SPONSORS American Immersion Theater, IFC Films, Shudder; PREMIERE SPONSORS Charming Stranger, MUBI; SIGNATURE SPONSORS Bywater Wonderland, SAGIndie; Vinegar Syndrome PATRON SPONSORS Louisiana Office of Tourism; EVENT SPONSORS Daily Dead, Full Armor Films; VENUE SPONSORS Canal Place, Prytania Theatres, Toulouse Theatre; MEDIA SPONSORS Antigravity, FANGORIA, Where Y’At SIGNATURE HOTEL SPONSOR International House Hotel. PATRON HOTEL SPONSORS Hotel Theo, Wyndham Garden Baronne Plaza New Orleans, Additional sponsors can be found on our website. More to be announced.

    Passes on sale now at overlookfilmfest.com 

    Download film stills here 

    Follow us on Social Media 

    Facebook – https://www.facebook.com/OverlookFilmFestival/ 

    Twitter – @TheOverlookFest 

    Bluesky – @OverlookFilmFest 

    Instagram – @OverlookFilmFest 

    Join the conversation using this hashtag: #OverlookFilmFestival 

    About The Overlook Film Festival The Overlook Film Festival is a 4-day celebration of all things horror held in haunted, historic & iconic venues throughout New Orleans. Presenting superior film programming with an expanded focus on experiential events, the festival showcases exciting work in new and classic horror cinema alongside the latest in interactive and live shows for a fully immersive weekend. As a summer camp for genre fans, The Overlook is a community event bringing the best of horror storytelling to an enthusiastic and appreciative audience within an intimate and inspirational environment. Evoking the spirit of the Overlook hotel, horror’s most infamous fictional haunt, the 2026 Overlook Film Festival runs from April 9 – April 12, headquartered at the Prytania Theatres at Canal Place in Downtown New Orleans and Prytania Theatres Uptown. The festival advisory board includes Joe Dante (Filmmaker – Gremlins, The Howling), Karyn Kusama (Filmmaker – Jennifer’s Body, The Invitation), Ryan Turek (VP of Feature Film Development, Blumhouse Productions), Leigh Whannell (Actor / Writer / Filmmaker – Saw, Insidious), Diana Williams (CEO & Co-Founder, Kinetic Energy Entertainment), Elijah Wood (Founding Partner, SpectreVision), and more.

    For more Information:

    Media Contact 

    Jason Fox Berger jberger@overlookfilmfest.com

    + ,
  • The new season of Monarch dropped last week and I am thrilled. I have seen people online speculating that the new season will finally give us what we’ve wanted forever: Godzilla vs Cthulhu! But those people are wrong. What we are getting is even better. 

    It is Dagon.

    Dagon as a kaiju is something that has already been done. In Lovecraft’s story of the same name, In the narrative, a sailor comes across a strange monolith on a strange plain that depicts some gigantic fish man eating a whale. Shortly thereafter, said whale eater (aka Dagon) slips and slithers its way up the monolith:. Here’s how Lovecraft wrote it:  “With only a slight churning to mark its rise to the surface, the thing slid into view above the dark waters. Vast, Polyphemus-like, and loathsome, it darted like a stupendous monster of nightmares to the monolith, about which it flung its gigantic scaly arms, the while it bowed its hideous head and gave vent to certain measured sounds.” and Dagon is worshipped by these horrifying fish people and strange abyssal crustaceous things that drove the narrator mad. Here’s Lovecraft again: “I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite. I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind—of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium.” The idea of this happening is so dreadful to the narrator that he decides that as soon as the opium wears off, he’s killing himself. The story ends on a bit of a ridiculous cliffhanger as the narrator writes about a monster trying to break in as the monster is trying to break in, kind of like the live tweeting your own murder sequence in Scream Queens

    Fast forward and Lovecraft revisits the idea of Dagon in the Shadow Over Innsmouth only this time we are treated to a rotting, downtrodden fishing town full of fish folk hybrids because the townsfolk worship—you guessed it—Dagon and the women folk of Innsmouth love themselves some ichthyomorphic peen. There’s a cult in the town, and that cult worships Dagon, and fornicates and cavorts with Dagon, and in return Dagon lavishes the town with gold and nets full of bountiful catches, riches in equal measure. The story tells us about a guy on a journey who stops at Innsmouth, finds out about the cult, and is summarily chased out of town by said cult. It later turns out that our narrator is actually part fishman himself! WOW! 

    Now take this idea and move it to Spain and you have Stuart Gordon’s take on the tale, a film called Dagon. Gordon tweaks the tale though and we get some good old fashioned giant monster doing giant monster stuff including dragging a beautiful woman into the depths to be his unwilling bride. But still in this film we get a group of Spanish fisherfolk who worship a giant monster, this will become relevant in a moment.

    In the new season of Monarch, the group discovers a Spanish fishing village that worships a giant monster that “brings the bounty of the sea” to the village as reward for their faith, which includes hints of human sacrifice. This cult runs the town and keeps their god a secret. Our team has yet to be chased out and hunted by irate fisherfolk but it sure seems headed that way. Meanwhile our introduction to the new big bad kaiju for season two takes place in that weird between place where kaiju come and go and a day is a year on the surface. Shaw witnesses the emergence of this kaiju and what he sees is a mountain walking. Literally, the kaiju was inside a mountain and it shook the majority of the mount off of  it when it woke up and head back to Earth. In the Call of Cthulhu Lovecraft describes Cthulhu as a mountain that walks. So there is a clear correlation and homage to Lovecraft and Gordon and Dagon. Even the design of the kaiju itself is clearly Dagon-esque and the beast is accompanied by a host of giant trilobite beasties, much as described by the suicidal narrator of Dagon the story. There is even a cave with a story depicting the god-kaiju and the villagers doing their worship thing! All things point to Monarch doing a Dagon

    So yeah, viewers are about to get a dose of Godzilla vs Dagon and it promises to be the heavy weight match up of the year. 

    Stay tuned for updates as the season progresses, but here’s hoping this post holds true! 

    Friday awaits…

  • That’s not the name of your new favorite movie*, but it is the name of your new favorite holiday. Taking place the week of the 15th of February, this archaic holy-day was celebrated by a little known sect of ancient Romans which featured all of the trappings mentioned above. Here’s the Encyclopedia Britannica excerpt about the holiday: 

    “Each Lupercalia began with the sacrifice by the Luperci of goats and a dog, after which two of the Luperci were led to the altar, their foreheads were touched with a bloody knife, and the blood was wiped off with wool dipped in milk; the ritual required that the two young men laugh. The sacrificial feast followed, after which the Luperci cut thongs from the skins of the sacrificial animals and ran in two bands around the Palatine hill, striking with the thongs at any woman who came near them. A blow from the thong was supposed to render a woman fertile. In 494 ce the Christian church under Pope Gelasius I appropriated the form of the rite as the Feast of the Purification.”

    Essentially a bunch of guys known as the order of the Lupeci stripped down sacrificed a goat, bathed themselves in blood, skinned the sacrifice, cut thongs to whip women with, and then—believing themselves to be wolves—went off to terrorize the countryside. The women they whipped were supposed to become fertile as a result of the beating. It is unclear if the women who were whipped also participated in the terrorizing of the countryside or if they were later invited to the inevitable orgy that would go down after all the terrorizing. That more I research older rites, the more I find that orgies were a big part of them, kind of like the key parties of the 70s, the handkerchief code that the LGBT groups used in the 70s and 80s, or the flamingos on the lawn in retirement villages in the aughts, 10s and 20s of the 2000s. Ancient folks really like their anonymous group sex! Odd times, the Dark Ages. 

    Other, darker stories about the festival have women being caught and whisked away to a cave, the home of the Order of the Lupeci, where wanton acts of sexual depravity occurred under the watchful eye of their god, Lupercus—a being said to both vulpine and cloven all in one. These stories are less willing orgy and moreso tales of rape and sexual assault, and more likely than not were spread by detractors of the pagan rites, but still it is worth noting that these rites often had a darker, more misogynistic bent to them than we often give credence to. 

    Lupercus was also very interesting. Associated with the great god Pan of the Greek pantheon or Faunus in the Roman tradition, Lupercus was different from both in that he was not just a god of fertility but a protector of farmers, shepherds, and sheep. This god lived in the Lupercal where Romulus and Remus were nursed and raised by a she-wolf, and this cave is where the darker rites mentioned above would take place. I imagine that the shapeshifting nature of Lupercus is what eventually led to the shapeshifting nature of the werewolves that haunted our lore and legends. 

    This of course ran its course and was co-opted by early Christians as written about above. Valentine’s Day is the newest mutation of the corruption of the Pagan holiday. The trappings of cannibalism and the emphasis on sex all speak directly to the trappings of the original holiday. 

    That was a joke earlier in this brief piece, that this will be a major motion picture someday but the fact is this HAS been depicted on screen at least once. The Howling (specifically part 2) gave us some crazed werewolf sexy time but the award for best Lupercalia depiction goes to a Halloween classic. Though not a rite performed in February, the finale of Michael Dougherty’s Trick r Treat gives us a fantastic idea of what a werewolf blood orgy might look like: shed skin, fur flying, and blood…so much blood mixed in amongst all the fucking. Hell of a way to go… 

    So tonight, if you feel an urge to howl at the moon go ahead and give it a go if only to sound the echo of a long ago, long forgotten rite.

  • Studio 666 is a horror film starring the Foo Fighters as themselves attempting to record their next album. Upon hearing their request for “a new sound” for the album,  their agent sets them up at a murder house whose acoustics prove irresistible to Dave Grohl and the band sets up shop. Demonic possession, death and destruction follow in short order.

    I’m not here to talk about that stuff though.  

    I’m here to discuss how the Foo Fighters and their film Studio 666 play the same trick. THe Foo Fighters have been a band for a long time now. Dave Grohl and his crew are long recognized as ambassadors of rock. They have had scandals: Grohl’s child out of wedlock, the shocking death of drummer Taylor Hawkins, but again, this is not an article passing judgement. It is instead an article of appreciation for what the band has achieved. First a confession, I am not an active listener of the Foo Fighter’s music these days. In my teenage years, yes I admit to dabbling but now, in my 40s, I do not actively listen to the band. I don’t hate them, but I would not call them a favorite. I would however drop everything I am doing to see them live. They are an incredible experience live and I highly recommend anyone go see them play. They sneak up on you live. You go in expecting them to sound like the radio versions of their songs, I certainly expected it to be that way; I imagined that they had a greatest hits playlist on an iPad and they’d just play along while the crowd did all the heavy lifting by singing along. That is not at all what happened. Instead we were treated to a rock and roll show, where the songs sounded almost foreign from the album and the greatest hits were sung by Dave Grohl with the earnestness of a person at a karaoke bar giving it their all. It was an incredible and moving experience and one I would gladly seek out a second time, even now with their line-up significantly changed by the loss of Hawkins. The show conveyed and love of and awe for music and it blew me away.
    Studio 666 plays the same trick. It starts out as what feels like a generic 90s slasher knockoff that takes a left turn into the kind of zany, funhouse horror that best of the 80s and 90s gave us. It takes its time getting there too but in a good way. We get to see the anxiety-ridden, ego-driven mess that is Grohl as he tries to create a new album. To make this album special Grohl wants a sound no one has ever heard before. The demon in the basement of the murder house, once owned by an up and coming thrash metal band called Dream Widow until the lead singer went nuts and murder/suicided the band, offers Grohl exactly what he is asking for. It even offers them up a new song, theirs for the recording as long as they finish it. From there we get an escalating series of gags, heavy on body horror and corn syrup, that lead us to a carnage filled, blood soaked finale that winds up so much darker than I could have anticipated at the light hearted start to the film. It’s a great time and one that goes so much harder than it had any reason to. The budget was put into the practical effects and it shows as each death gets bigger and better and the chances of survival get bleaker and bleaker. I wish I had gotten around to watching a lot sooner, much the same way I regretted not seeing the Foo Fighters until my late 30s. Both are fun experiences and worth checking out.   

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  • Sausage Party is a Lovecraftian horror film. Yes, you read that correctly. It is a also an R rated comedy animated feature about anthropomorphic food in a supermarket which features the most insensitive and non PC humor I have seen in a film in a long time (honestly, not really since Blazing Saddles has there been a film this non-PC). In short it is a perfect film, if you’re into super raunchy comedies that double as Lovecraftian horror. At this point, now that I have written it twice, you’re probably wondering how is it possible that Sausage Party is Lovecraftian horror.

    The basic premise of the film is that these sentient foodstuffs sit around waiting to be chosen by the gods to go to the Great Beyond. Our eponymous hero is selected but things go horribly wrong when a jar of honey mustard, who is stark raving mad after being returned to the store from the Great Beyond, decides to commit suicide rather than face the gods again. From there our hotdog hero, voiced by Seth Rogen, is committed to finding out the true nature of the gods, no matter what that knowledge may end up costing him. There is even a scene where he travels through a frozen wasteland (filled with octopods) to find a book filled with forbidden knowledge. The horrible and horrific truth threatens his existence and the existence of all those he loves, but of course no one believes him until it is too late. Add in mentions of a fourth dimension which is where our food is not food but the anthropomorphic beings we are watching on screen and is only accessible to us (the gods) if we are in an altered state and you have a perfect Lovecraftian comedy. Seriously, this is a great film.

    There is a lot more I would love to say about the film, but as always I will avoid spoilers. The things I mentioned above are actually well away from spoiler territory and in fact can be gleaned from watching the trailer. Take a closer look, see this one for yourselves and see how great this film is both as a piece of Lovecraftian film and as a seriously fucked and nonstop comedy. I will warn you though, you discover new depths to your depravity as you watch this film. You may be surprised at what you laugh at (as well as the amount of highbrow, intellectual humor which gets mixed in with the lowbrow stuff in this film).

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  • “I took the one less traveled by,

    And that has made all the difference.”

    That is the prevailing theme  at the heart and conclusion of my viewing  of Graham Skipper’s Sequence Break. It’s in the title of course—and in an onscreen definition, yes, this movie spells out what a sequence break is—but Skipper does a fantastic job building on this theme with other themes and ideas: love, routine, the need for healthy relationships, reach for your dreams, etc. and what we viewers are given a thematically solid, well crafted, Cronenbergian nightmare that is as full of hope and love as it is with moaning fleshy arcade cabinets and wonderful ‘80’s synth score that is absolutely one of the stars of the film. The sound goes a long way to help bring this nightmare to life. 

    Without spoiling much, if anything, there are two timelines at play here: one where the end result is mind- and soul-crushing imprisonment and enslavement to one’s routine, the same loop playing out over and over again until the world is transmuted and is, at least for our protagonists, destroyed. Then there is the infinite, the out of the box timeline where a butterfly flapping its wings here results in a storm across the world. It is a timeline full of permutations and random chance, and it is only available to a person if they are willing to break… well to break the sequence.

    The plot is basic, and that is a good thing. A young man is absorbed in the restoration of old arcade equipment, to the point of total disregard to reality and it spirals from there. You know the cycle: boy is obsessed with one thing, boy meets girls, boy creates crazy lovecraftian/cronenbergian arcade cabinet, boy falls in love (with girl and with the strange erotic, eldritch machine), bad things happen (lots of oooey gooey practical effects here) and then the end of the film comes along. Did the boy choose his love of the woman or the machine*? You will have to watch to find out.  

    There are a lot of really solid production choices on display here by Skipper. He chose to go largely practical with his effects and that—for me—is to his credit. I love practical effects, and the ones here are top notch, which had me recalling some of the greats as I watched. He clearly wanted a Videodrome feel to this and achieves that aesthetic admirably. My only complaint is that this film was clearly made on a budget, and I wish that Skipper and co had more money to work with which would have given us more and more slimy practical effects. The score is also a lot of fun as it’s full of both throwback retro synth joy. 

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  • Joe Cole, Callum Turner, Alia Shawkat and Anton Yelchin in Green Room.

    The Green Room is a brilliant piece of gripping, in-your-face cinema. This high end splatterfest comes to theaters from the mind of the always incredible Jeremy Saulnier. Focusing on the plight of an obscure punk band who, while performing a show at a dive bar/white supremacist headquarters in the middle of the woods in the Pacific Northwest, find themselves in an awful situation. Early on in the film Saulnier gives us his working thesis: that some experiences are meant to fill you with emotion, to strike a primal chord in the audience and then to be over; leaving you sick and overwhelmed with emotion, the ghostly image of what you were a witness to, a part of, trapped in your subconscious. This is exactly what The Green Room does. After introducing us to the group of likeable punks, who show us that they are not sympathetic to the extreme alt-right agenda of the bar that they are playing at by opening with The Dead Kennedys’ “Nazi Punks F**k Off,” and having us experience the insanity of the crowd as they romp and stomp to the music, Saulnier begins building up the experience as things go horribly wrong for the band. Just like any good concert, and the film really did have the pacing of the best concerts, the intensity and violence ebb and flow, dragging us along to the bloody and well earned denouement.

    What most people reading this are wondering, what they are probably only reading this for, is to find out what Patrick Stewart is doing in this film. He plays Darby, the owner of the establishment that the band is trapped in and the leader of the group assaulting them. Stewart plays Darby with cool and calculated consideration and delivers a truly vile character, one that is chilling and terrifying. 

    I mentioned above that Saulnier has made a splatterfest of a film, and he really has. The gore on display is pitch perfect and brutal but the best part is that it never takes center stage. It is always in the moment and very honest, which sounds strange: “honest gore.” But that is exactly what it is, even at its most shocking the violence on display is never just for shock’s sake, it is earned and it drives the story: either by further tarnishing the souls of our beleaguered protagonists or to drive the story forward with madness and chaos.  

    This film is one that should be seen, by you and this weekend, in theaters. It is a pure, adrenaline-pumping film, one that will not leave your mind for days to come.

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  • Fulci for Fake is an interesting biopic, a film made by an actor looking to understand the complicated person he is about to portray. In this case, our filmmaker is Simon Scafidi, a dead ringer for Fulci himself, in fact we first see him made up as an old Fulci. We hear the premise of this film—the desire to share the fascinating life stories of one Italy’s most fascinating filmmakers—while he pulls off the makeup, ultimately revealing a man who could be mistaken for a young Fulci at a glance, an excellent choice for the role and a way to transport us back to the beginning of the project and then back to the genesis of his career. From there it is an incredible journey full of intimate details and anecdotes shared with us by former cast and crew and his daughters. The stories are fantastic and reveal a man who loved film and life but was also embattled and bitter, a perfectionist and a self-proclaimed misogynist, a man who loved his grandson but also one whom neither of his daughters can recall receiving any affection from  as children.

    His fears and anxieties and anger and rage play out as themes in many of his films, and we are treated to an analysis by a filmmaker who is simultaneously breaking down the films but also helping us connect what we are learning about Fulci as a man with what many watching already know about Fulci as a filmmaker and the result is an enriched look at his filmography and career, one that is from an earnest and heartfelt lens and I found it endearing and bighearted at times as well. I kept waiting for some bombshell revelation, information that would turn this into a nightmare and ruin the kind tone of the film, but that never happens. In fact it ends on note of conciliation as his daughter Camilla breaks down crying as she recalls her father holding her hand for the first time, shortly before he passed away. 

    Many of us, fans of the genre, only know Fulci from the films we’ve seen, and most of us have probably only seen one or two of those (and that is not a judgement, his work is not widely available generally (Shudder has a lot of his work available) and, if I am completely honest, not all of his work aged well, so your mileage may vary in this day and age.), but with no context. I think that is why I enjoyed this film and can recommend it to you, dear reader. It provided me a better understanding of the man behind the camera, which helps me to relate to what I am seeing. Late in the film, Fulci’s daughter Antonella says that the best way to know him is to put yourself behind the camera in every scene, and to try to think like the person who would be filming that scene. It’s haunting advice, and I think this documentary makes it much easier to do that. It does not seek to vindicate or elevate Fulci, it exists to give us a look at the man behind the curtain, and we are shown a complex and complicated man, at once revered and reviled by his daughters and feared and loved by his crew, cast and friends. It’s provided me a whole new appreciation for what he put on film during a career that spanned decades.

    This biopic, Fulci for Fake, will be to fans of Lucio Fulci and his films what The Last Dance is to fans of Michael Jordan and the Chicago Bulls or what Tiger King is to people who like stories that are… actually that one was for the masses, bad example I guess, but you can take my meaning I think. Check it out if you’re so inclined.    

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