Anthony Knasas’s The Anger is a fierce, emotionally charged revenge thriller that strikes with precision, both in its message and execution. Following the relentless torment of an innocent teen, the film pivots into a blood-soaked reckoning as a group of bullies begins to face the consequences. What sets it apart is how it blends social commentary with shocking twists and visual flair, delivering a deeply unsettling experience that lingers.
Winner of Best Feature Narrative at the 2025 New York True Venture Film Festival, The Anger is a must-see, especially considering its ultra-low $4,000 budget. Beyond its gripping narrative, the film tackles the subject of bullying with an unflinching eye. It doesn’t just show the cruelty and damage; it wraps that theme inside a horror-thriller framework that keeps you hooked until the final frame.
Visually, the film is gorgeous. Shot entirely on an iPhone 11 Pro Max during the fall season, it boasts striking cinematography that feels far more expensive than its budget would suggest. The warm, stylized color correction, coupled with beautiful sunset shots and 70s-inspired close-ups, creates a distinct mood that feels intentional and well-educated in style. There’s also clever camera work, like using moving cars to mimic dolly shots, that elevates the production value far beyond its means.
The pacing is a slow burn, but never dull. Every beat builds tension until the chaos erupts near the end, where practical effects take center stage, delivering an effective, bloody payoff. Composer Matt Koelsch’s score deserves special mention, especially a chilling jingle tied to the film’s mysterious antagonist—it’s the kind of musical motif that stays with you long after the credits roll.
Performance-wise, there are a few moments where line delivery falters, but for the most part, the cast feels natural and emotionally grounded. Alex Arthur (Allie Buckuss) and Keith R. Beck (Connor Sheehan) bring sincerity to their roles, while Jacqueline Kelley Coughlin delivers an eerie and unforgettable presence as “The Anger.”
The film’s only notable shortcoming is its lack of proper credits—a missed opportunity to honor the clear dedication and talent of the team. Hopefully, that’s something Knasas will amend in future versions.
Knasas’s own journey is just as compelling as the film itself. With a background in illustration, editing, and design, he’s worn many hats in the creative industry. The Anger, his debut feature, was a passion project born during the pandemic, fueled by resourcefulness, community support, and sheer determination. It’s the definition of indie filmmaking at its most inspiring.
Jessie Hobson