Fantastic Fest 2026: Pathetic Fallacy, Upiro, Kick On, Doris
The world’s best genre events, like Fantastic Fest, serve as a vibrant showcase for cinematic audacity. This year’s lineup delivered a remarkable spectrum, ranging from surreal, mind-bending visions to deeply moody Gothic thrillers and explosively chaotic action. It was a masterclass in genre creativity, proving that the boundary between reality and nightmare is where the most compelling stories are born.
At the forefront of this revelry was Adam Egypt Mortimer’s truly demented Pathetic Fallacy. This film stands as a testament to cinematic surrealism, drawing heavily on the visual and psychological landscapes of masters like Nicolas Roeg and David Lynch. Rather than demanding practical explanation, Mortimer crafts a narrative that unfolds like a nightmare fueled by unfathomable grief. It’s a vision that prioritizes emotional truth over literal sense, inviting viewers to meet the film halfway in its dream logic. The movie features Johnny Jewel on score and stars Scott Mescudi, who delivers a mesmerizing performance as Asher, navigating a whirlwind of romance and tragedy. The film’s most unsettling moments, such as the prolonged depiction of death, showcase a willingness to push boundaries that makes the audience lean in and wonder.
As Asher’s journey deepens, he ventures to Mount Samdi, a mystical realm existing somewhere between reality and fantasy. This mythological odyssey sees Asher encounter monsters, including a serial killer, and even talking animals, including a spider voiced by Natasha Lyonne. While some might find this approach too weird, the brilliance of Pathetic Fallacy lies in its brazen originality. It doesn’t hold your hand; instead, it challenges the viewer to embrace the chaos, positioning itself as a potent example of how genre art can be wonderfully strange and hard to unpack.
Shifting gears to the moody and intoxicating, the Spanish vampire thriller Upiro offered a sophisticated exploration of history and sexuality. Written by Elena Munoz and directed by Oscar Martin, the film uses the vampire myth to unpack complex themes surrounding gender roles in religion and the Age of Enlightenment. Starred by Pauline Brisy as Ana, the story follows her arrival at an isolated monastery in 1775. The film subtly plays with the idea of supernatural creatures, suggesting that immortal life can lead to a profound sexual awakening. Through breathtaking production design and cinematography, the narrative unfolds with an aesthetic that is simultaneously transportive and deeply sensual.
The energy shifted dramatically with Nick Kozakis’s Kick On, a taut, visceral thriller that perfectly blends high-octane action with simmering tension. The film captures the chaotic energy of characters repeatedly making stupid decisions, leading to bloody consequences. It channels the intensity of films like Green Room and Boogie Nights, delivering a relentless pace where chaos erupts into violence. Set against the backdrop of a Russian mobster named Ray, the narrative spirals into a tense confrontation, proving that sometimes, the most entertaining thrillers are the ones where the payoff is viciously satisfying.
While some genre films thrive on bold, messy freedom, not all supernatural narratives achieve the same impact. The story of Doris Bither, which inspired the film What Happened to Doris?, attempts to recount a haunting inspired by a real-life case. However, the film struggles to deliver genuine texture. It feels less like an immersive experience and more like a recitation of established facts, leaving the audience wanting more emotional depth. The effort to capture the haunting and the characters is notable, but ultimately, the film falls short of the impact that truly successful genre filmmaking delivers. It reminds us that while there are famous cases to tell, the real horror lies in the story itself, not just the trivia surrounding it.
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