From the creative minds of Corey Trahan and Sarah Webb, Damsel of the Doomed is an ambitious, genre-blending horror feature that fuses a love letter to horror host culture with a meta-fantastical narrative dripping in practical FX and Austin weirdness. The result is an undeniably stylish production that stumbles just as often as it struts, a film as fascinating as it is flawed.
Let’s get this out of the way: Damsel of the Doomed looks fantastic. Trahan and cinematographer Woodson Rowan make great use of Austin’s rich visual tapestry, from goth boutiques to iconic horror haunts, lending the film a grounded regional authenticity. The drone shots, lighting, and costume design (courtesy of Kayla Stojek) are vibrant and immersive. The film’s production value, especially considering its indie roots, is impressive.
Unfortunately, where the visuals soar, the tone often crashes. One minute, we're knee-deep in a potentially traumatic encounter; the next, we’re sipping coffee and cracking wise. It’s a horror-comedy-gothic mashup that never quite finds its rhythm. There’s a sincere attempt to marry fantasy and satire, but some scenes linger too long, aiming for creepy or quirky and landing somewhere in the uncanny valley of awkward.
At the center of this whirlwind is “Scarah,” played with commitment by Sarah Webb herself. She channels Elvira in voice, movement, and presentation, to the point of mimicry, a choice that might delight fans of camp but may come across as overindulgent for others. The film doubles down on its meta elements, blurring the line between performance and self-reflection. While it’s interesting to explore the backstory of a horror host character, there’s something inherently strange about writing, starring, composing, and scripting a feature around your own fictionalized mystique. At times, it feels less like storytelling and more like myth-making in a vacuum.
Still, credit where it’s due: Scarah is a memorable character, even if she leans more caricature than icon. And while the script occasionally veers into cringeworthy territory, especially during a bizarre defense of “weird kids” to a drunk girl at a festival, Webb commits to the role wholeheartedly.
The real treat for horror fans comes in the final act, when the character-driven tension gives way to good old-fashioned mayhem. The kills, though limited, are all practical and executed with love by the Bat City Scaregrounds team. There's no CGI to ruin the mood, just tactile, gooey effects that would make Tom Savini nod in approval. The sound mix is nearly flawless, with clear dialogue and well-balanced music that enhances the atmosphere without overpowering it, aside from a few brief inconsistencies during a podcast scene.
The film’s greatest asset is its setting. Austin natives will undoubtedly appreciate the many nods to local venues and events: The Glass Coffin, Nosferatu Festival, Curia Arcanum, and more. For those in the know, it feels like an extended Halloween party filled with familiar faces, including William Instone (who Scarah lovingly refers to as “bigun”) and Julia Fae, who gives one of the stronger performances.
But for viewers outside the Texas horror circuit, Damsel of the Doomed may come off like a club you’re not invited to. There’s a definite “echo chamber” effect happening, the kind where creators celebrate themselves through the medium of their own art. It’s charming in moderation, but here it sometimes crosses into self-congratulatory.
Damsel of the Doomed is a passion project, and that passion bleeds from every frame, often literally. Outside of some weird lighting choices, it’s a visually stylish, community-focused ode to horror hosts and Austin’s weird, wonderful subculture. It also suffers from tonal inconsistency, underdeveloped characters, and a script that occasionally sacrifices storytelling for self-celebration.
But despite its flaws, there’s something undeniably watchable about the whole thing. If you’re a fan of indie horror, regional filmmaking, or just love a good dose of practical FX and goth kitsch, Damsel of the Doomed is worth a look, just don’t expect a fully polished experience.
Jessie Hobson