Markiplier eschewed conventional production and distribution channels with his feature adaptation of Iron Lung, for example. We’re also still in the midst of Backrooms and Obsession-mania, with the former back in theaters with bonus footage and the latter extending its box office reign. Liminal horror has exploded, and low-budget indie horror is seeing just as much, and sometimes even more, success as big studio-backed fare. 

All of which to say that 2026 has been a hell of a year so far for the genre, and it’s only getting warmed up. Still on the way are Evil Dead Burn, Insidious: Out of the Further, Resident Evil, Clayface, Whalefall, and Werwulf, just to name a few. 

Also catch up with the Best Horror Books and Best Horror Games of the year so far.

Here are the ten best horror movies of the year (so far).

10) Chime

Horror master Kiyoshi Kurosawa is back with one of his most haunting yet, though one that’d likely be higher on this list if it were more accessible. The 45-minute feature was initially produced and distributed as an NFT before receiving a theatrical run earlier this year, with no plans to distribute digitally or on home media. It spins a somewhat cryptic tale, introducing a culinary teacher, Takuji Matsuoka (Mutsuo Yoshioka, Never After Dark), whose classroom becomes disrupted by a strange sound that leads to violence. It’s a quiet but haunting unraveling, one that leaves no aspect of Matsuoka’s life untouched, in true Kiyoshi Kurosawa style. That it defies any easy explanation also ensures Chime embeds itself under your skin.

9) Send Help

Sam Raimi’s splatstick return to form is a delightfully deranged two-hander that doubles as infectious catharsis for anyone who’s ever had a bad boss. Rachel McAdams (Doctor Strange) and Dylan O’Brien (The Maze Runner) face off when their characters are shipwrecked on an island, prompting a bid for survival in more ways than one. While O’Brien often matches her, It’s McAdams who shines as she deftly handles everything that Raimi, working from a script by Damian Shannon & Mark Swift (Freddy vs. Jason), throws at her. Send Help is full of vibrant personality, packed with all of Raimi’s signatures, making for one of the most entertaining films of the year.

8) Mārama

New Zealand filmmaker Taratoa Stappard’s gothic tale begins in familiar fashion, with Mary Stevens (Ariāna Osborne) arriving in Yorkshire upon invitation to learn more about her parents, only to find the remote manor haunted. Just when Stappard’s period horror story feels doomed to succumb to familiar gothic trappings and jump scares, though, its true horror emerges. The more Mary uncovers about her heritage and her Māori culture, the clearer it becomes that this grim home is built on violence and exploitation. Stappard’s vision comes into its own when it leaves behind its gothic influences and embraces its Māori identity; few scenes are as powerful as when Osborne’s Mary performs a haka in response to her vile oppressors, heralding in a righteous bloodbath.

7) Touch Me

Writer/Director Addison Heimann draws from retro Japanese horror, exploitation cinema, and perhaps even hentai for his campy, psychosexual sophomore feature. A toxic friendship plagued by trauma, codependency, and addiction gets tested to the extreme when Brian (Lou Taylor Pucci), a hip-hop-loving, tracksuit-sporting alien, gets between them. Olivia Taylor Dudley and Jordan Gavaris have an easy rapport and play off each other well as directionless, depressed Millennial besties prone to ignoring their problems until they become insurmountable. But it’s Pucci’s inspired, childlike take on the chicken nugget-loving extraterrestrial with tentacled secrets of his own that steals the show. Heimann has a lot on his mind with his sophomore feature and neatly condenses it all into a quirky, eccentric psychosexual camp odyssey that leans heavily into humor.  

6) Backrooms

Director Kane Parsons translates the vast liminal labyrinth of his web series to the big screen in his feature debut, one that instills existential dread with its atmospheric horror and narrative. The ‘ 90s-set horror movie introduces a protagonist with a serious chip on his shoulder over life’s many disappointments, who then discovers his furniture store harbors a hidden door that leads to an endless labyrinth. It’s not just the incredible production design that instills a disorienting sense of doom and terror, but the lead characters’ palpable and profound sense of loneliness and isolation. Parsons exudes impressive confidence and control as he methodically entrusts his quiet worldbuilding and talented leads to carry the dramatic weight. While Backrooms does deflate by the film’s cryptic, cliffhanger-y end, it’s arguably the most effective and scariest yet at capturing the uncanny valley of generative AI.

5) Leviticus

Writer/Director Adrian Chiarella uses an It Follows-like supernatural entity that relentlessly stalks its prey as a launchpad to immerse audiences in the horror of constantly living in fear for simply existing. A conversion therapy ritual among a deeply conservative community plunges a pair of erstwhile lovers into a nightmarish bid for survival when it summons a force that takes the shape of those whom the afflicted desires most. Chiarella refines the horror mechanics and metaphor with much sharper precision, ensuring that the scares and emotional gravity of the young couple’s terrifying predicament reach their intended impact. It’s the central layered performances by Joe Bird (Talk to Me) and Stacy Clausen (Thrash) that clinch emotional investment in their heartbreaking plight, ensuring that the social horror cuts deep. 

4) Redux Redux

The McManus Brothers, writer/director duo Matthew and Kevin McManus (The Block Island Sound), dials up the intensity of a classic revenge story by setting it within a multiverse, where Irene Kelly (Michaela McManus) seeks to snuff out every single iteration of her daughter’s murderer, Neville (Jeremy Holm). The more she stalks and slays every world’s Neville, the more she risks losing her humanity entirely. Through a narrative foil in Mia (Stella Marcus), Redux Redux smartly bypasses repetition as it explores the moral complexities and vulnerabilities of Irene’s extremely violent quest. Holm becomes utterly terrifying in the climax, ensuring that no matter whether Irene loses herself to vengeance for good or not, it’s justified if it means ridding the world of this sick maniac. 

3) 28 Years Later: The Bone Temple

Director Nia DaCosta takes the reins in the second entry in writer Alex Garland and original director Danny Boyle’s trilogy, picking up from the previous conclusion that saw Spike (Alfie Williams) fleeing from the infected straight into the welcoming arms of Sir Jimmy Crystal (Sinners’ Jack O’Connell). From here, DaCosta presents a stark contrast between humanity’s best and worst. The former sees the tender studies of Dr. Kelson (Ralph Fiennes) make poignant strides toward humankind’s future, while the latter unleashes more pain and bloodshed courtesy of the Jimmies. The dual paths of light and dark collide in one epic conclusion, an inspired confrontation between good and evil on a stunning set piece of heavy metal insanity. Yet it’s DaCosta’s handling of both extremes that impresses most, teeing up one epic conclusion to this trilogy.

2) Obsession

Sketch comedian turned horror filmmaker Curry Barker (Milk & Serial) wrings blood-curdling terror from a classic Monkey’s Paw wish fulfillment scenario in a way that no one could have ever anticipated. To say that it’s taken the box office by storm would be a massive understatement; Obsession is the top horror movie of the year in terms of gross. It’s not hard to see why, either. While Monkey’s Paw scenarios often yield predictable outcomes, and this outcome is practically telegraphed from the start, Barker manages to surprise with the journey itself. And it’s one insane journey paved with blood-soaked violence and no shortage of nightmare fuel. What truly sets it apart, though, is leads Michael Johnston and Inde Navarrette as the central pair undone by one vicious wish. Expect to see a lot more from breakout Navarrette.

1) Hokum

A surly, traumatized writer must break free from his self-imposed shackles of guilt when confronted by a wicked witch haunting a quaint Irish inn in the latest by writer/director Damian McCarthy (Oddity). Adam Scott’s Ohm makes for an atypical but rewarding protagonist, and his complicated emotional journey gives way to a deeply moving story of a man so thoroughly broken by personal trauma that he constantly dwells in darkness. In true McCarthy style, expect the creepy as hell witch to dole out some supernatural retribution for crimes committed, but never in the way you’d expect.  The filmmaker has a way of making whimsy pure nightmare fuel; Hokum distorts a kids’ show into eerie, uncanny valley-induced terror in its torment of Ohm. Channeling Stephen King, this creeper plays like a traditional campfire tale in mood and style, infusing genuine scares with a sense of magic and heart.

The post The 10 Best Horror Movies of 2026 (So Far) appeared first on Bloody Disgusting!.

But before we get there, SEVEN new horror movies released at home today.

Here’s all the new horror that released on Tuesday, April 7, 2026!

The Bride! – Now Available on Digital

Christian Bale is Frankenstein’s Monster and Jessie Buckley is the Bride of Frankenstein in director Maggie Gyllenhaal’s The Bride!, a fresh take on the classic horror story.

The Bride! is now available on Digital at home.

In the bold new film, “A lonely Frankenstein (Bale) travels to 1930s Chicago to ask groundbreaking scientist Dr. Euphronious (five-time Oscar nominee Annette Bening) to create a companion for him. The two revive a murdered young woman and The Bride (Buckley) is born. What ensues is beyond what either of them imagined: Murder! Possession! A wild and radical cultural movement! And outlaw lovers in a wild and combustible romance!”

The film also stars Peter Sarsgaard, Academy Award nominee Jake Gyllenhaal, and Oscar winner Penélope Cruz. Maggie Gyllenhaal directs from her own screenplay.

In the original 1935 film from director James Whale, “After recovering from injuries sustained in the mob attack upon himself and his creation, Dr. Frankenstein (Colin Clive) falls under the control of his former mentor, Dr. Pretorius (Ernest Thesiger), who insists the now-chastened doctor resume his experiments in creating new life. Meanwhile, the Monster (Boris Karloff) remains on the run from those who wish to destroy him without understanding that his intentions are generally good despite his lack of socialization and self-control.”

Touch Me – Now Available on Digital

Two co-dependent best friends become addicted to the narcotic-like touch of an alien narcissist in Touch Me, and the sci-fi horror movie is now available on Digital at home.

Jordan Gavaris, Lou Taylor Pucci, and Olivia Taylor Dudley star.

In Touch Me from director Addison Heimann, “After a series of unfortunate events leaves their house uninhabitable and reeking of poo, two co-dependent friends, Joey and Craig, find themselves homeless and out of options. That’s when Joey’s mysterious ex resurfaces.

“He wants her back. Along with being hot, Brian also happens to be an alien whose touch makes anxiety and depression disappear. The two venture to his compound for the weekend with the hope of being healed from past traumas, but underneath Brian’s veneer of healing is a sinister plot filled with murder, mayhem, and blood.”

Yellow Veil Pictures previews, “Touch Me is a psychosexual horror-comedy about the nature of co-dependent friendships and how far we are willing to go for a slice of happiness.”

Justin Benson & Aaron Moorhead (Spring, The Endless) executive produce for Rustic Films.

Meagan Navarro wrote in her review out of Sundance, “Addison Heimann has a lot on his mind with his sophomore feature and neatly condenses it all into a quirky, eccentric psychosexual camp odyssey. While its comedic elements become far more addictive than its drama, a game cast and inspired use of cinematic influences ensure a horror film unlike any other.”

Psycho Killer – Now Available on Digital

Barbarian star Georgina Campbell is tracking a killer in Psycho Killer, a Satanic slasher from Se7en scribe Andrew Kevin Walker (Sleepy Hollow). It’s now available on Digital.

In the film, “Following the brutal murder of her husband, a Kansas highway patrol officer (Georgina Campbell) sets out on a journey to track down the perpetrator.

“As the hunt progresses, she comes to realize the man responsible (James Preston Rogers) is a sadistic serial killer, and the depth of his mental depravity and his sinister agenda is more twisted than anyone could have imagined.”

Producer Gavin Polone (Zombieland, Panic Room) makes his feature directorial debut.

Psycho Killer also stars Grace Dove (The Revenant), Logan Miller (Escape Room), and Malcolm McDowell (Halloween, A Clockwork Orange), and is produced by Roy Lee, Matt Berenson, Andrew Kevin Walker, and Arnon Milchan, with Martin Moszkowicz, Robert Kulzer, Yariv Milchan, Natalie Lehmann, and Kat Landsberg serving as executive producers.

Babysitters vs. Vamps – Now Available on Digital

Two teens get caught up in a deadly plot involving an otherworldly cult in Babysitters vs. Vamps, a micro-budget horror-comedy inspired by “Buffy the Vampire Slayer.”

The film is now available on Digital via Cleopatra Entertainment.

In Babysitters vs. Vamps, “When Lana asks her best friend Michelle to join her for a weekend of babysitting, the two get some uninvited guests. It doesn’t take long before they find out they’re caught in the middle of a sinister plot involving a blood-thirsty vampire cult.”

Brian Dorton (Crazy Fat Ethel) writes and directs, in addition to producing alongside James Cullen Bressack, Tim Yasui, Brian Perera, Yvonne Perera, and Douglas Connor.

Scarlett Freeman, Cameron Dorton, Ravyn Rose, Shawn M. Bishop, Heather Harlow, Douglas Conner, and Brian Dorton star in Babysitters vs. Vamps.

Marcus Koch (We Are Still Here, Jakob’s Wife) of Oddtopsy FX handled the special effects.

I Know Exactly How You Die – Now Available on Digital

Described as “Stranger than Fiction meets Scream,” the meta horror comedy I Know Exactly How You Die from director Alexandra Spieth (Stag) hit Digital today.

The film follows Rian Burman, a struggling horror novelist seeking inspiration who checks into a remote motel to finish his book. Haunted by heartbreak and creative paralysis, Rian begins writing a story about a woman named Katie, a drug counselor fleeing a violent stalker. But as he writes, the line between fiction and reality begins to blur, his scenes start coming true.

At the same motel, the real Katie is hiding from a deranged ex-mailman turned serial killer. When Rian and Katie meet, their shared experiences confirm the impossible: his manuscript is somehow manifesting real events, including the stalker’s murders. As the deaths around them escalate, Rian realizes he might be both the author and the architect of the horror unfolding.

Rushabh Patel, Stephanie Gomes Hogan, and Bobby Liga star.

Luiz H.C. wrote in his review out of Dances With Films, “With such an interesting cocktail of meta inspirations behind the scenes and a memorable ambience that verges on neo-noir, I’d still recommend I Know Exactly How You Die to horror fans curious about what might happen when an artist can’t separate himself from his art.”

Primal Darkness – Now Streaming on Found TV

Fresh off its world premiere at the Unnamed Footage Festival, the found footage creature feature Primal Darkness is now streaming for free on the streaming service Found TV.

Blending raw, immersive storytelling with an unflinching tone and a unique adversary, Primal Darkness aims to deliver an experience that is both intimate and terrifying.

Cole Harrington, the host of a popular outdoor series, sets out to track down the predator responsible for a series of cattle attacks in rural Nevada. The mystery deepens when he uncovers footage depicting the final moments of two missing university employees.

Dillon Brown (Tahoe Joe) writes and directs Primal Darkness, citing The Blair Witch Project and Bone Tomahawk as inspirations. Brown also appears in the movie alongside Blake Hyer, Maxwell Golden, Dustin Tamplen, and Michael Rock.

RELATED: 13 Upcoming Found Footage Horror Movies Releasing in 2026 and Beyond

Smother – Now Available on Digital

Fear runs in the family in Smother, an Austrian supernatural horror film reminiscent of Relic. Also known as Heimsuchung, the movie hits DVD and Digital today via IndiePix Films.

Recovering alcoholic Michi retreats to her estranged father’s isolated countryside house with her 8-year-old daughter, Hanna, hoping to mend the bond shattered after a drunk-driving accident. But the quiet refuge quickly turns hostile, as long-buried memories surface, and whispers of Michi’s mother — who died by suicide in the house — begin to seep into every room.

Hanna starts sleepwalking. An eerie drawing of a woman in purple appears. Neighbors speak in riddles about a spirit that never left. As shadows move through the overgrown garden and night terrors escalate, Michi becomes convinced her mother’s presence is stalking them.

Haunted by visions and wracked with paranoia, she spirals back into alcohol, her grip on reality unraveling as fear gives way to rage. When Hanna nearly wanders into traffic during a midnight trance, Michi realizes the haunting is no longer confined to the house — it lives inside her.

Cornelia Ivancan, Lola Herbst, Lukas Turtur, Heinz Trixner, and Inge Maux star in the German-language film. Writer-director Achmed Abdel-Salam makes his feature debut.

The post Tuesday, April 7 – These 7 New Horror Movies Released at Home Today appeared first on Bloody Disgusting!.

His first feature film, the horror comedy Hypochondriac (2022), revolves around a young man who descends into madness and begins exhibiting troubling physical symptoms, as well as hallucinations of two wolves, as the physical manifestation of his past trauma.

Heimann’s new film, Touch Me, is hilarious, horny, and deeply personal, and features lots of tentacles. Written and directed by Heimann, the film tells the story of Joey, played by Olivia Taylor Dudley (Paranormal Activity: The Ghost Dimension, Crawlspace), and Craig, played by Jordan Gavaris (Orphan Black, The Lake), roommates who are both damaged, codependent, and carry around a lot of unresolved trauma. Joey is recovering from a brief, but intense relationship with an alien named Brian, played by Lou Taylor Pucci (Evil Dead, Spring), who has the cosmic ability to erase anxiety or depression by having what he calls “interspecies intercourse,” which translates to neon-drenched tentacle sex.

When Brian invites Joey and Craig to spend a weekend at his enormous compound, they can’t resist and are forced to decide between his addictive alien magnetism and endless bliss or self-reflection and the importance of their friendship. The team behind Rustic Films (The Endless, Synchronic), David Lawson, Jr., Justin Benson and Aaron Moorhead serve as executive producers on Touch Me.

During a recent press day, Bloody Disgusting had the pleasure of talking with Addison Heimann about his personal inspiration for Touch Me, creating Brian’s outrageous alien aesthetic, and the extraordinary practical effects.

Bloody Disgusting: I’m a big fan of your first film Hypochondriac, which was very personal for you because you used humor to tell the story of your own struggles with mental health issues in a way that is relatable. How personal is Touch Me, which deals with anxiety, depression, and trauma, and what was your inspiration for writing this story?

Addison Heimann: On the surface, it might not look like it’s just as personal as Hypochondriac, but it is. It’s weird to say that because you have all these jokes. I think Hypochondriac ends with this hopeful tone of, it’s hard and you’ll always be with the wolf, but if you can learn to love it and embrace it, it will turn into a child again and you’ve just got to nurture it. I was like, “Hell yeah, look at me overcoming this thing!” And then of course, I immediately get back into another spiral, and I was like, “This is unfair.”

I had gone through a really terrible friendship breakup, which was kind of the initial aspect of this, and I was kind of looking for anything and everything to numb the mental illness that was just completely blowing me in the face. I finally got the diagnosis of Obsessive Compulsive Disorder and I decided to essentially create the story examining this friendship that was so meaningful to me and how I fucked up in it and also use this weird and wacky tone to kind of emulate what it’s like to live with Obsessive Compulsive Disorder.

So, it’s like if Hypochondriac is what it’s like to live with a breakdown, Touch Me is about what it’s like to live with OCD. And kind of learning once again that despite the fact that you may have gone through something once and survived, there is no quick fix and ultimately, once again, it’s still a journey and it’s a long one.

BD: Lou Taylor Pucci is so good and so funny as Brian, who is an alien who dresses in track suits, has a man bun, and likes to dance to hip hop. How did you come up with his whole aesthetic?

AH: To me, Brian comes down and he’s a little worm, he infects a human and he wakes up and turns on YouTube and absorbs the things he likes. I guess it’s like MTV from the eighties and Japanese culture and then, weirdly, mafia velour track suit style. He’s basically an amalgamation of culture that he finds interesting because he’s an alien and he’s a child. So, that’s how he comes up with his titular look; it’s just what he finds interesting as a person, who generally is just attracted to shiny things. So, the shinier, the better, right? The velour track suits are shiny, Joey is shiny, Craig is shiny, and dancing feelsshiny. It’s like that thing where Ididn’t expect what everybody thought to be the best joke of the movie where he’s like, “I guess I’m like five years old,” and seeing their reaction to it. When I was talking to Lou, I was like, “This is how you approach the character.” Because you read it and you can do it 1800 different ways.

The thing I love about Lou is his simplicity and his naturalness. Justin Benson and Aaron Moorhead are producers on this film, so that’s how we got the connection to Lou. He worked with an acting coach, he did hip hop, and he worked out. He wanted to dye his hair black because he didn’t just want to look like Jesus and I was like, “I get it.” Now he just looks like Jared Leto, which was not intentional [laughs]! I have no comment on anything to do with other celebrities. I was thinking goth Jesus, but Lord knows, the internet is going to speculate.

BD: Oh my God, now I can’t unsee Jared Leto! [laughs]

AH: That’s the top comment on Reddit and the top comment on Twitter and I’m like, “I cannot categorically confirm or deny any sort of biopic as it were.”

BD: This movie has such a great cast. Brian is very manipulative; he’s almost like a cult leader. Olivia Taylor Dudley and Jordan Gavaris play Joey and Craig, who are both very needy people, but I love their dynamic. Are any of these characters based on real people in your life?

AH: Brian is less based on a person and more of an idea, of idealized hero. Did I have a narcissist in my life who I took inspiration from? Haven’t we all. But Joey and Craig are directly based off of real people and Craig obviously is me [laughs]. But I swear I’m better now. I’m a better person [laughs]. Laura is just a pure nonsense creation, so she’s not a real person, but Joey and Craig very much are. Brian is more like the metaphor of what it would be like to be addicted to essentially heroin or any kind of drug of choice.

BD: Touch Me features tentacle sex and lots of blood and goo. Can you talk a little bit about the creature effects?

AH: Russell FX, Josh and Sierra Russell, are just the bee’s knees. They did David Bruckner’s Hellraiser. They do big projects, they do small projects, and they, like me, really like tentacles. So, I was very grateful that they were able to get onboard with us. Everything you see in the movie is practical, of course aided with a smattering of VFX to clean up certain things. But everything you see, all the tentacles, is practical. The monster reveal at the end is a two-foot puppet in water, puppeteered, both inside and outside. We have giant tentacles from the POV, we have heads exploding, we have real blood, that totaled my car because we all forgot to put mats down on the vents, but that’s okay.

That was a very fun thing to explain to my mechanic where he was like, “I think an animal died in here,” and I said, “Oh no, I’m a just a horror movie director.” Thankfully, it’s Los Angeles, but I was coming back and I thought, “Are the cops just going to show up because they think I murdered someone?” [laughs] Those are the best days. Josh and Sierra and their whole team are so on it, and it was such a genuine joy to work with actual practical effects. I think my whole goal with this movie, not only am I homaging pink films from the sixties and seventies in Japan, which have this kind of theatrical storytelling, but there is something that is so beautifully tangible about practical effects. It’s not about looking real, it’s about creating the essence of tactileness and that to me is what makes or breaks a movie like this, because we don’t have millions of dollars to create the most perfect, shiny VFX. Instead, going lo-fi and going practical in fact, makes it feel sexier and more real and more deliberate.

Yellow Veil Pictures will release Touch Me exclusively in NY on March 20, limited theatrical release March 27, and on demand and digital April 7.

The post Director Addison Heimann Gets Personal in Hilariously Horny Horror Comedy ‘Touch Me’ [Interview] appeared first on Bloody Disgusting!.

Touch Me is coming to NY March 20th, followed by select theaters March 27th, and Fandango at Home April 7th. Watch the official trailer to begin this wild psychosexual journey.

Jordan Gavaris, Lou Taylor Pucci, and Olivia Taylor Dudley star.

In Touch Me from director Addison Heimann, “After a series of unfortunate events leaves their house uninhabitable and reeking of poo, two co-dependent friends, Joey and Craig, find themselves homeless and out of options. That’s when Joey’s mysterious ex resurfaces.

“He wants her back. Along with being hot, Brian also happens to be an alien whose touch makes anxiety and depression disappear. The two venture to his compound for the weekend with the hope of being healed from past traumas, but underneath Brian’s veneer of healing is a sinister plot filled with murder, mayhem, and blood.”

Yellow Veil Pictures previews, “Touch Me is a psychosexual horror-comedy about the nature of co-dependent friendships and how far we are willing to go for a slice of happiness.”

Justin Benson & Aaron Moorhead (Spring, The Endless) executive produce for Rustic Films.

Meagan Navarro wrote in her review out of Sundance, “Addison Heimann has a lot on his mind with his sophomore feature and neatly condenses it all into a quirky, eccentric psychosexual camp odyssey. While its comedic elements become far more addictive than its drama, a game cast and inspired use of cinematic influences ensure a horror film unlike any other.”

The post ‘Touch Me’ Trailer – An Alien’s Touch Cures Depression in This Psychosexual Sci-fi Horror Movie appeared first on Bloody Disgusting!.

In the psychosexual sci-fi horror comedy, two codependent best friends become addicted to the heroin-like touch of an alien narcissist who may or may not be trying to take over the world.

Olivia Taylor Dudley (“The Magicians”), Lou Taylor Pucci (Evil Dead), and Jordan Garvis (“Orphan Black”) star.

Addison Heimann (Hypochondriac) writes and directs. Filmmakers Justin Benson & Aaron Moorhead (“Loki,” The Endless) executive produce for Rustic Films.

“Touch Me is an astounding second feature,” said Yellow Veil Pictures co-founder Joe Yanick. “Addison is so playful in his stylistic choices and confident in allowing so many different ideas to bounce around form into a film that is in equal measure funny, sexy, weird, and bloody.”

Heimann added that she’s “admired Yellow Veil for quite some time and I am absolutely thrilled to be working with them for this freaky little movie.”

Meagan Navarro wrote in her review out of Sundance, “Heimann has a lot on his mind with his sophomore feature and neatly condenses it all into a quirky, eccentric psychosexual camp odyssey. While its comedic elements become far more addictive than its drama, a game cast and inspired use of cinematic influences ensure a horror film unlike any other.”

The post Psychosexual Horror-Comedy ‘Touch Me’ Acquired by Yellow Veil appeared first on Bloody Disgusting!.

Touch Me’s unassuming opening scene sets the stage. Joey (Olivia Taylor Dudley) recounts to her therapist the harrowing sexual encounter with a lover who got too rough, prompting her to flee the relationship and take refuge with her gay best friend Craig (Jordan Gavaris). It’s the type of sensitive subject matter, relayed by Dudley with an appropriate matter-of-fact sincerity, that signals a much heavier feature ahead. Especially when Joey and Craig both find themselves struggling to make ends meet, let alone get their lives together.

But that’s before the film introduces Joey’s former lover, Brian (Lou Taylor Pucci), a hip-hop-loving, tracksuit-sporting alien that lives off chicken tenders and french fries and wants to save the world with alien trees that consume CO2. Both Joey and Craig soon find themselves unable to resist Brian’s sexual prowess and a magical ability to soothe their anxieties with a simple touch.

Olivia Taylor Dudley and Jordan Gavaris have an easy rapport and play off each other well as directionless, depressed Millennial besties prone to ignoring their problems until they become insurmountable; like, say, backed-up plumbing that forces them to seek temporary lodging. Enter the scene-stealing Brian, flanked by his stern and watchful righthand Laura (Hypchondriac’s Marlene Forte). Lou Taylor Pucci’s inspired performance injects infectious energy and endless camp humor as the plucky alien who just wants everyone to be happy. Brian’s soothing demeanor and simple aims are deceptive, and his choreographed dance numbers are equally disarming. It’s bolstered by vibrant production design; Brian’s home is saturated in bold hues and design choices evocative of phantasmagorical ’60s and ’70s Japanese horror. 

Then there’s the tentacle sex. Heimann boldly reinterprets addiction through psychosexual horror; sex with Brian’s true form as bizarre therapy becomes a compelling and evocative way to explore the deep-seated traumas that led Joey and Craig to this point in their lives and in their friendship. Heimann wields absurdist humor and evocative imagery to offset the dark subject matter, especially when venturing into Joey and Craig’s traumas, ensuring that Touch Me never gets too dour or heavy-handed. The downside, though, is that the comedy is so effective that it often overshadows its own emotional beats. Brian is such a larger-than-life character that, occasionally, Joey and Craig’s central friendship loses focus.

Heimann has a lot on his mind with his sophomore feature and neatly condenses it all into a quirky, eccentric psychosexual camp odyssey. While its comedic elements become far more addictive than its drama, a game cast and inspired use of cinematic influences ensure a horror film unlike any other. 

Touch Me made its world premiere at the Sundance Film Festival. Release info TBA.

The post ‘Touch Me’ Review – Psychosexual Sci-Fi Horror Explores Mental Health with Camp Humor [Sundance] appeared first on Bloody Disgusting!.