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.

In Shaman, director Antonio Negret ventures into the jungle of spiritual warfare, cultural conflict, and unsettling ambiguity to deliver a horror film that’s both deeply atmospheric and thematically resonant. With a haunting score, visually rich cinematography, and a genuinely unnerving sense of dread, Shaman manages to inject new life into the well-worn exorcism subgenre—even if it doesn’t fully commit to its most provocative ideas. The film follows a missionary family in rural Ecuador whose young son returns from a forbidden cave seemingly possessed by an ancient, malevolent force.

Move over Jesse Walsh, there's a new scream queen in town — and his name is Cody Steele. Yes, the abs are real. Yes, the stunts are his own. And yes, he is doing the Lord’s queer work in Meat, a blood-drenched, unapologetically fabulous slasher from indie horror’s reigning “Scream Queer,” Roger Conners.