The Body Remembers: Marshmallow Review & Analysis

By: Myriam Akbar

Marshmallow is a 2025 indie sci-fi horror film that feels like an episode of Goosebumps—focusing on adolescence, adventure, and a frightening mystery. However, it’s clearly made for a broader, more mature audience and has higher stakes. This slasheresque camp tale is written by Andy Greskoviak and directed by Daniel DelPurgatorio. The plot follows children attending a summer program as they investigate an urban legend-like mad scientist. It’s now available to watch on Shudder, rightfully becoming a part of horror discourse and receiving the praise it deserves. Viewers like myself were blown away by its originality and third act’s plot-twist. 

The film opens with twelve year old Morgan having a terrifying nightmare involving water, moving to a scene of him attempting to play basketball with his new neighbors who cruelly reject him. One evening during dinner, he and his family discuss his leaving for summer camp which fills him with agitation. His grandfather attempts to get him excited for the experience, which appears to work until something tragic takes place. He suddenly dies—giving Morgan’s parents more reason to send him to Camp Almer. One night around a fire, one of the counselors tells a story about a doctor who experiments on people and turns them into monsters. Although the returning campers brush it off as tradition, Morgan becomes paranoid yet curious. The rest of the film follows his investigation into the doctor, effort to escape bullying, and desire to make friends.

Marshmallow takes a classic horror setting and cleverly utilizes it to examine themes of safety, memory, and the mystery of adult secrecy. The camp trope gives the film a slasher feel, along with villains in costumes and young adults sneaking away to hook up. Through cinematography, it captures the essence of summer and the eerie atmosphere of the woods. The characters are realistic and relatable, adding to the cohesiveness of the script. Kue Lawrence gives a naturalistic and convincing performance, demonstrating familiar attributes of adolescence like social development and identity formation. The subtle scares lean into intensity and intrigue, having some shocking moments of violence. On the other hand, there’s a few moments of well-balanced humor that contributes to the overall youthfulness of the film. The dialogue stands out as intentional and skillfully placed, matched with specific scenes that create full circle moments. It’s clear that a great deal of care went into the script writing and directing—producing a film that truly sets itself apart from other 2025 releases.

Now, let’s take a look at the third act’s plot-twist and the thematic concerns within it. 

Spoilers ahead. . . 

As most can predict, the doctor isn’t just a part of a fictional scary story—something dark is going on at Camp Almer and the staff are all in on it. Morgan and a few other children (including Pilar who he forms a friendship with) discover that the doctor is real and he’s the director of the camp. This results in their attempt to free themselves from possible danger, contemplating hiding, taking a boat across the lake, and splitting up—something that’s rarely a good idea in a horror film. Unable to round up all the campers, the counselors start to panic while Morgan and Pilar find answers for themselves. Full of anger, they bravely confront the staff with what they’ve learned from reading their files—they’re dead. 

Turns out this summer camp program is actually, in fact, a summer camp used for human programming. The campers are clones of children that died, created to help grieving families. They return to camp every year, in order to receive maintenance which plays into the story of a doctor performing experiments in the middle of the night. The staff are responsible for ensuring that everything runs smoothly and appears normal, tasked with sedating the children with spiked hot chocolate. The doctor sees this as a humane process of keeping families together; however, some of the counselors have grown tired of the routine and question the ethics of what they’re doing is wrong. One of them even decides to offer Morgan and Pilar the option of remembering what they’ve learned, as memory erasure is part of the process. Everyone working for Camp Almer has more to worry about than two children knowing their secret—the program is flawed and the campers are malfunctioning. I find this to be the most fascinating part of the twist because earlier in the film, I was confused about the severity of the bullying that was taking place with little to no punishment. The violent outbursts exhibited by the same child were actually symptoms of his programming, which is why the staff underreacted. 

The twist gets even better. Camp resumes as normal, although some of the counselors have injuries from the previous night. But, as usual they play their role. The only campers that remember what happened are Morgan and Pilar. The shocking final scene reveals that the system is failing and sets the story up for a further exploration. The director is shown on the phone, speaking to someone who is explaining that there’s other programs out there and the glitches within the cloned children are not uncommon. In fact, it’s deeper than that—they’re evolving. In comes a blood drenched Pilar, running towards him with a knife. This kind of scene obviously makes the viewer want more and luckily for us, Marshmallow is getting a sequel! 

Memory is a significant aspect of the film’s foreshadowing, shown through Morgan’s fear of water which is demonstrated from the very beginning. The opening scene depicts him having a disturbing nightmare, one that involves water and later, he refuses to participate in the water related activities. These are deliberate script choices, not just scenes to illustrate Morgan’s adolescence. His shy and apprehensive nature makes him a relatable protagonist, embodying anxieties children attending summer camp for the first time often experience. For example: aquaphobia, which is actually a common fear. However, these two scenes are also used to create a full circle when his cause of death is revealed—drowning. This instantly made me think about the way water and memory are stored in the body. The trauma of his death is still lingering because he hasn't been able to rest, resulting in his nervous system being triggered when he's near water. The erasure of this crucial memory impacts Morgan’s overall identity, because he now has to accept the unsettling truth that he was technologically recreated. 

Secrecy is necessary for the program to operate and although the parents are aware of what’s happening to their children, the manipulation of reality is what creates a dangerous situation for them. Truth not only ensures a sense of safety, but prepares children to navigate hardships. Sugarcoating is a method used by many parents in order to protect their kids from information they don’t believe they can handle. This method is used by the staff as they make light of the experiments by repackaging the truth into a campfire tale. It’s paradoxical almost, because some of us realize in adulthood that one of the best parts of childhood is not knowing. We cling to the days when life didn’t feel so heavy and when we were unaware of harsh realities. However, it’s possible we’re missing something. We forget what it’s like to be a child, craving a seat at the big kid’s table—to be in the know and to have clarity about the world around us. 

I highly recommend watching Marshmallow more than once because you’ll realize how many scenes and pieces of dialogue are cleverly placed and create full circle moments. Personally, this strategy creates a film watching experience that lingers for days and makes me want to recommend it to everyone I know. For example, when Morgan’s mother tells him that although he won’t understand now, it’s necessary for him to attend camp and that it’ll be good for him. By the end of the film you know why she says that and that she’s telling the truth, it is necessary for his survival. However, the way you feel about the ethics of cloning is another story. Another example is a scene that I think has more significance than some might think, when Morgan’s grandfather dies. His experience with grief provides him with perspective that later aids him with the acceptance of his own death, because he understands why his parents would want him to be a part of the program. The pain he experienced when his grandfather died, is the same that his parents experienced when he died. 

Looking forward to the sequel, I believe there’s enough foundation to make a film even better than the first. We are familiar with the setting, characters, themes, and main issue to be addressed–the glitching in programming. I am hoping to learn more about the program’s initial creation and first children that were experimented on, what happens to Pilar and how Morgan is coping with all that he’s learned, as well as how the camp staff is going to deal with the possible death of the director. Although we see Pilar come after him with a knife, we don’t actually know that he is dead. If he is, what happens to the cloned children? I wonder if things will be swept under the rug and her memory erased, resulting in a new director coming to Camp Almer. It’s also possible that the children will be sent to one of the other programs. Who knows! But we’ll find out soon and I can’t wait.

Photo credits: Imdb.com

Interview with Andy Greskoviak, Screenwriter of 2025’s Marshmallow

By: Myriam Akbar

Recently I had the opportunity to interview screenwriter Andy Greskoviak about his film Marshmallow, directed by Daniel DelPurgatorio. We dove into his passion for filmmaking, inspiration for film, and the themes explored throughout it. The plot of this sci-fi horror film follows children at a summer camp investigating an urban legend-like mad scientist. It’s currently available to stream on Shudder and rightfully receiving the recognition that it deserves. Like myself, viewers are raving about the inventive and unexpected nature of the third act’s unforgettable twist. 

Greskoviak has been living in Los Angeles for the last decade; however, he was born and raised in Illinois–something he’s proud of. When asked about his personal relationship to cinema, he said, “Movies are the closest thing I’ve ever had to religion.” Like many of us who love film, that love began during childhood and this was no different for him. He recalls enjoying the feeling of being scared by the television series Goosebumps and gravitating towards stories that centered kids going on adventures. His father traveled a lot while he was growing up, but when he was home they spent a lot of time at the theater. Some of his favorite films are The Goonies, The Monster Squad, and Stand By Me.  “I fell in love with Star Wars and Jurassic Park early on and can distinctly remember my surprise when I learned that they were created from human imagination,” Greskoviak shares. 

His desire to tell stories through film also stems from childhood. He remembers the times he would continue the narrative of an episode of Mighty Morphin’ Power Rangers, using action figures to act out scenes. At age twelve he was gifted a camcorder from his grandmother for his birthday, which helped him get through a rough moment in his life. His best friend at the time ended their friendship; however, the camcorder led to him discovering a new friendship. He and his brother, along with this “tall kid from across the street” began bouncing ideas off of each other and filming whatever came to mind. “That tall kid? He’s been my best friend for 25 years. And my ex-best friend? He keeps requesting me on LinkedIn and I’m not accepting it,” says Greskoviak. His uncle worked as an independent film editor in Chicago, so he edited their footage together to make complete projects. The group held premieres for their films in a basement, inviting all the neighborhood kids over to watch. “Completing those shorts was so much more exciting and rewarding than, say–homework,” he says. 

Years later, Greskoviak began attending DePaul University’s Film School, where he focused on screenwriting and simultaneously worked at ToysRUs. This job actually inspired his first script for his film Black Friday. He moved out of Illinois to live in California in 2016, at this time focusing on editing and sending out the script. One of the filmmakers he sent it to was Casey Tebo, who was excited about the project and got the ball rolling. “It was on Black Friday when I met Warner Davis, who produced Marshmallow,” he shares. He recommends watching Black Friday during the holidays, but the film is currently available to stream on several platforms. Although the wait is tempting, I don’t think I’ll make it a year.

As someone who avidly watched Goosebumps as a child and still plays the old seasons, I see the way Greskoviak’s love for the series translates to his own work. Marshmallow truly feels like an expanded episode of the show; however, with more stakes and made for a broader audience. When asked about his inspiration for the film, he said it was his personal childhood anxieties and the fear that comes with facing them. “When I was 12, the world felt like a haunted house. Every day I was learning something new and that terrified me. But the scariest part was that I’d have to find a way through it, rather than run from it. That's really where it all started–a horror movie about how weird it is to be twelve,” he says. Greskoviak was motivated to tell this story because many of the films he loved as a child centered on youth. Sleepaway Camp and Friday the 13th also inspired it, which is shown through its slasheresque formula.  

Two of the main themes explored in Marshmallow are identity and the mysteries of adulthood, brought on by Greskoviak's experience of being diagnosed with OCD in middle school. His reflection on how that impacted his outlook on life is implemented in the script. “I asked the doctor what the cure was and he explained that there was no cure, only maintenance. I think that’s sort’ve where the ending came from–the realization that the secrets of growing up are a lot less salacious than they are brutal. You want the answers? Fine, they’re very complicated,” he says. Another theme is unwanted memories and his own exceptional memory played a role in how he approached it while writing. “I’ve always referred to it as a curse. I always wanted to start this screenplay with meeting Morgan (the film’s main protagonist) shortly before he’d be changed forever,” he says. 

Greskoviak attended the world premiere of Marshmallow at Panic Fest in Kansas City, feeling privileged to have done so. He also introduced the film in the Odeon Leicester Square at FrightFest UK. “It was wild. I’m so happy my wife was there with me,  otherwise I don’t think anyone would believe I did that,” he says. Overall, the team behind the project was just happy it got made and couldn’t wait to share the final product. “Also, I was sitting on the twist for 4 years leading up to the film’s release,” he admits. He describes the success of Marshmallow as warming and rewarding in a way that’s hard to describe. “It was such a special project and it was a good 18 hours before we understood that audiences had enjoyed it,” says Greskoviak. 

Although he can only disclose so much, he says that he’s working on some exciting stuff. “What I will say is that I love the horror space. I love genre and genre-bending. And truthfully I really, really love working with Danny DelPurgatorio. So I’d love to make that happen again and soon,” Greskoviak shares. One piece of information has become public knowledge and it’s something I was hoping for given the final scene of Marshmallow. The film’s getting a sequel! Since the news broke, the internet has been expressing nothing but pure joy and anticipation. 

Lastly, I asked Greskociak what pieces of advice he would give aspiring filmmakers like myself. He says, “Keep going. I know that’s the most trite and annoying piece of advice, but I’ve hit countless dead-ends that have truly felt like the end of the road. I’ve wanted to quit, but I’ve always been really fortunate to have a few voices in my life to keep pushing me.”

Interview with Indie Filmmaker, Patrick Guera

By: Myriam Akbar

Meet Patrick Guera–a San Diego Native, indie filmmaker, and one half of Rewind of the Living Dead Podcast. He spent most of 2025 promoting his horror short, The Path which is currently making its way through the festival circuit. It’s an image driven script that relies on visual storytelling and like his other short, Don’t Do It uses little to no dialogue. It’s receiving great responses and has moved Guera into the horror filmmaking space, allowing him to connect people in the field. He is now working on a feature length film, expanding on The Path and is immensely excited for the project. I had the opportunity to watch the short a couple months ago and think that its ominous atmosphere will translate well in a larger piece of work. I recently interviewed Guera about his passion for cinema, inspiration behind his films, and advice to aspiring filmmakers.

“My love for cinema began as a young child. I remember The Goonies and E.T. having a  huge impact on me. Anything from the Spielberg era or anything that had a classic and traditional blockbuster feel drew me in,” says Guera. Although he always watched horror films, it wasn't until about five years ago that he began to consider himself an enthusiast of the genre. This was after he realized that he had extensive knowledge on it and joined a podcast. This also became apparent to him when he considered that three of his five favorite films of all time are horror–these being Alien, The Texas Chainsaw Massacre, and The Lost Boys. In terms of other genres, Guera gravitates towards dramas and has a special appreciation for 80s comedy thrillers–48 Hours, Armed and Dangerous, and Beverly Hills Cop being examples of this. “It’s a unique and well-blended mashup of genres. It’s a comedy but the stakes are very real and very dangerous. They’re fun and engaging films,” he says.

Guera went to university in San Diego to study cinema and filmmaking, resulting in him directing and producing corporate videos. However, it didn’t fulfill his need to make art–so he started working on his drama short Don’t Do It. In terms of the process, he says that he fell in love with screenwriting because the format is different from long form. “It uses a specific style that is more conducive to my brain patterns,” he shares. However, he leans towards directing. “I don’t need to write the next thing that I direct. I really love being on set. The writing portion makes me wanna rip my hair out. I would rather just be on set,” he says. Above all, he finds the most important aspect to be the completion of a project. “Getting something across the finish line means everything to me” he says.  

The premise of Don’t Do It questions: what happens when someone’s intrusive thoughts get the best of them? The plot examines this, following the lifelong journey of a man struggling with decision making. It’s a raw, introspective, and emotionally-charged film that won awards while making its way through festivals. I immediately resonated with it when I watched it, finding it relatable and cautioning. It’s cohesive and clearly demonstrates its purpose. He chose to keep the dialogue in the film to a minimum because storytelling through visuals is important to him as a director. “The actors are the people who really push the emotion and I like seeing them do their thing,” he says. Guera goes by “@directorpatrick” on Instagram and has a link in his bio, making it accessible for people to see for themselves. Due to its complicated nature and to avoid spoilers, he didn’t go into much detail about The Path. However, he shares that the idea explores the dangers of radicalization. As a story, it delves into the price one pays for the things that they’re willing to do. 

Guera initially started making TikTok content to promote the podcast he’s a part of, which is where I discovered him. After receiving advice to put himself out there, he began to invest in the app to gain exposure and to connect with like-minded people. “The horror and filmmaking community has been warm and welcoming. Every social media platform has its dark side and toxic aspects–but no other app brought me to people who liked the same things as me as fast as TikTok did,” he says. 

As a scriptwriter and aspiring filmmaker, I am always looking for advice on how to approach getting the art made and insight into the actual process. Guera says, “There’s no right time to do it. No one is waiting for your work. You have to make things that you’re passionate about and make yourself known.” If the budget is standing in the way of completing a project, he suggests shooting a portion of it or rewriting it to be something you can shoot on a micro budget. Guera emphasizes the significance of building a team and writing scripts that people can understand. “No one else is in your head. The script has to help everyone understand what you want to achieve,” he says. He admits that the biggest piece of advice that he could give is actually just being kind, which I agree is incredibly important when it comes to making indie films. “You’re going to have people working with you for free and people are there because they believe in you. Don’t make them regret that,” he says. He also highlights the seriousness of never allowing cruelness on your set. “Please and thank you go a long way. Set the temperature of the set,” Guera adds. 

Horror 2025: The 10 Films That Impressed Me Most

By: Myriam Akbar

The year 2025 was great for the horror genre, with many films tackling unique concepts and serious themes of inner turmoil. Filmmakers took risks by focusing on the perspectives of non-humans, combined genres, emphasized the power of metaphors, and shocked audiences with gory visuals. I tried to watch as many as I could before making this list and formed it by highlighting the ones that impressed me the most. I have attempted to give as much detail as possible to describe the films honestly and illustrate why I enjoyed them so much, without spoiling anything major in the plot. My hope is that this reads as a list of recommendations rather than thorough reviews, some of which will be fully examined on my site this week. 

10.) Good Boy

Good Boy is a supernatural horror film directed by Ben Leonberg–starring his very own dog, Indy. He co-wrote it with Alex Cannon and co-produced it with Kari Fischer. The plot follows a man suffering from lung disease, whose dog attempts to save him from a haunting entity. The storytelling is shown through the perspective of Indy, focusing on action rather than dialogue. His body language and vocalizations demonstrate his awareness that something malevolent is lingering, alarmed by the danger it poses to his terribly sick owner. As soon as I heard about the film’s concept, I knew that I wanted to watch it because it's not a typical horror premise. It’s inventive, introspective, despondent, and Indy’s performance was unexpectedly convincing. With limited characters and a contained setting, it's easy to focus on his behavior. While watching, I couldn’t help but put myself in the dog’s position–conceptualizing for the first time in my life, how worrying and confusing it must be for pets to see their owners struggling with illness. This made for an emotional and eye-opening watch. The strategic choices in cinematography were absolutely successful in portraying these anxieties. The creepiness of the supernatural forces caught me by surprise as the film went on and I actually found some moments scary. The overall pacing could have been better because some moments felt dull, like I was dog-sitting, However, I argue that Good Boy accomplished what it set out to and is a well executed film. I think the creativity alone makes it worth the watch.

9.) The Woman in the Yard

The Woman in the Yard is a psychological horror film that blends supernatural elements. It's directed by Jaume Collet-Serra and written by Sam Stefanak. The plot follows a grieving and injured mother named Ramona, raising her two children as she investigates a mysterious woman sitting in front of her house. This harrowing and emotionally intense film received divisive reviews, being more slow paced and metaphorical than expected for many. I have been a fan since my first watch, due to the acting performances and overall depth. I personally loved the non-typical and unanticipated nature of it, because I too was expecting a jump-scare packed supernatural film. However, what I got was a deep and dark tale about a woman confronting her battles with mental health–demonstrating how grief and shame manifests itself when not confronted. I was only recently able to rewatch the film because of the impact these themes had on me, causing me to cry a few times. Danielle Deadwyler’s performance was so raw, I felt the characters' emotions. Peyton Jackson and Estella Kahiha who played Ramona’s children, also gave convincing and relatable performances. My two criticisms are that I would have approached the role of the woman in the yard differently and provided a trigger warning; however, I won’t be discussing details on those subjects. Regardless of how the film ends, it's a admirable feature screenwriting debut from Collet-Serra. I think it's an underrated film that's misunderstood by many, possibly becoming more popular with time.

8.) Bring Her Back

Bring Her Back is a horror film that intertwines supernatural and occult elements. It's directed by Danny and Michael Philippou, following two orphaned step-siblings who become fostered by a woman hiding distubring secrets. It’s brutal, gory, and leaves a lasting impression. This isn’t the kind of film that I can rewatch often (if ever ) because I had such a visceral reaction, crying during some scenes and others making me gag–one particularly, actually making me throw up. The bloody and disgusting visuals are some of the most striking I’ve seen in years. What impressed me about this film is the inventive nature of the concept and how it alone creates a horrifying story even without the visuals. As someone who spent time in the foster system, I had been longing for more horror that explores it. However, this also made the experience of watching it depressive and bleak. So I can’t say that I enjoyed Bring Her Back but recognize the unmistakable talent displayed by the filmmakers. 

7.) Weapons

Weapons is an occult mystery horror film written, directed, and produced by Zack Cregger. The plot involves 17 elementary students who go missing one night, resulting in the suspicion of their teacher and a town-wide investigation. The non-linear story is told through chapters and focuses on different character viewpoints, providing new details about the mystery. While I’m a big fan of the concept and set up of the film, I actually didn’t find this narrative strategy to be fully effective. I feel it made the pacing too slow in the first two acts and contributed to a runtime that was too long. The repetition of scenes was frustrating because it didn't always push the story forward or expand on the intriguing aspects of the story. I think if the third act (which is my favorite part) had been longer, the runtime wouldn’t have bothered me. What landed Weapons on my list is that the main protagonist and the revelations attached to them are brilliantly written, terrifying, and truly one of a kind. I just wish that the energy brought out towards the end, had been there the whole time. I was also impressed by the implication of deeper themes; such as: alcoholism, loss of innocence, and failure to protect children. However viewers, including myself shared other interpretations--mine being a critique of the military industrial complex. Overall, Weapons is an inventive and fun watch that much of the horror community didn’t see coming. It takes the occult sub-genre and breathes life into it, giving it depth through thematic concerns relevant in society.

6.) HIM

HIM is a supernatural occult horror film directed by Justin Tipping that received mixed reviews, which took me by surprise because it’s thematically layered and thoroughly entertaining. It was one of the most fun theater experiences I had all year. Once I heard that comedian Marlon Wayans was starring in it, I had to see it. The plot follows Cameron (played by Tyriq Withers), a rising football star who goes to remote grounds for an intense mentorship after an injury that could end his career. The film illustrates how our biggest dreams can shape our identity and influence our decision making. It observes a variety of themes: the exploitation of athletes, toxic masculinity, homoerotism, extremities of fandom culture etc. It’s lively, mysterious, unique and full of religious allegory. It also has touches of ironic humor and gore. Both Withers and Wayans gave their all with their acting performances, having undeniable chemistry and dedication. I think what makes the film special is that it discusses topics that have been mostly ignored, possibly due to discomfort or attachment to sports culture. I feel that the intent behind the story is clear and accomplishes what it set out to, taking risks in a way that might not resonate with some people at first. My only areas of critique are pacing in the second act and storytelling in the third, which I think would have been more effective if shown through subtext. Otherwise, I am convinced that with time this will become a horror classic and people will truly appreciate its artistry.

5.) The Monkey

The Monkey is a horror comedy written and directed by Osgood Perkins, based on Stephen King’s 1980s short story. The premise is simple–a drumming monkey toy brings deathly chaos into the lives of twin brothers who previously had it as children. The story depicts how the monkey impacts their childhood and adulthood, examining the inevitability of death and the significance of confronting trauma. What landed this film on my list is that it’s one of very few horror comedies I’ve enjoyed to this extent, unlike others it easily landed for me. For me, the genre blending works because death itself is the perfect subject to explore with this genre mashup due to its serious nature. When hearing that a loved one has died, many of us yearn for something to soften the blow as we deal with the grief. Watching The Monkey made me reflect on the interactions and moments that aided me when confronting this kind of loss. It was laughter, friendship, spending time with relatives, and acknowledging that everybody dies (a phrase used for marketing for the film). While it's not terrifying, the ridiculous and gory death scenes brought the shock factor of horror. As for the humor, I found many scenes hilarious and laughed along with the audience. Like the film doesn't take itself too seriously, we did not take the theater experience too seriously. My main criticism is that I found the first half to be more well balanced and interesting than the second half. As the story progresses, it gets unpleasantly wacky and muddled. Otherwise, I think Perkins did a great job adapting and expanding on King’s short story as it uses the curse aspect to explore relatable themes. 

4.) Presence

Presence is a psychological and supernatural horror drama written by David Koepp and directed by Steven Soderberg. The plot follows a grieving teenager named Chloe, after she and her family move into a new house that has a lingering presence. From the POV of the unseen entity, we are shown its journey and learn more about its purpose for being there. The film received mixed reviews due to its lack of jumpscares and terrifying visuals, typically associated with the supernatural genre. However, I was in awe of the innovative and introspective nature of the concept. It truly shows how expansive the horror genre can be in exploring our feelings associated with danger. It’s an atmospheric and hair-raising drama that examines the anxieties of a family, as well as its haunting presence. It explores themes of trauma, redemption, and the role empathy has in building connection. My only issue was that some of the acting performances were unconvincing to the point of becoming distracting, but that didn’t overpower the undeniable creativity behind the Presence. I wasn’t expecting to be emotionally impacted and shocked by what’s revealed in the third act, but I believe it’s what makes the film so special. It sets itself apart from others in the haunted house category and I have no doubt that in time, it’ll be looked at as one of the greatest. 

3.) Traumatika

         Traumatika is a supernatural horror film directed by Pierre Tsigaridis. He co-wrote and produced it with Maxime Rancon. I kept this one in my back pocket for a while after seeing it recommended on TikTok and am so glad I watched it before 2025 ended, because it made my top 5 of the year. The plot involves a demonic entity that is released when an artifact is opened, allowing it to feed on the abuse and trauma in a family. It possesses and makes abuse spread like a disease, exploring the reality of how trauma often becomes generational. This film is discomforting, gruesome, and visually terrifying. It’s hard to decide which one takes the crown in that department, this or Bring Her Back. Out of all the horror I watched throughout the year, Traumatika is the only film that actually scared me and this took place within the first 15 minutes. I had second thoughts on finishing it because I didn't want nightmares, but decided I was up for the challenge. If there weren't thematic concerns being addressed, I honestly wouldn’t have enjoyed it as much because some scenes were hard to watch. However, there is a level of depth that motivated me to recommend it to others. Aside from demonstrating the cyclical nature of abuse and trauma, Traumatika examines two other subjects that stood out to me. One of my favorite kinds of films are those where a character learns that their ignorance towards other cultures or beliefs can come back to bite them and this film depicts this in a subtle but efficient way. It also emphasizes how some people attempt to profit off exploiting others, benefiting from their trauma. Overall, I think this film is successful in balancing its supernatural elements with shedding light on real life horrors. Because many horror fans are looking for the scare factor in the genre, I imagine as time passes more people will watch it and enjoy as much as I did.

2.) It Ends 

It Ends is a genre-bending psychological thriller that has horror and apocalyptic undertones. It’s written and directed by Alexander Ullom, first premiering at the South by Southwest Festival. It involves a group of young adults who go on a late night drive, only to be trapped in the car on a never-ending path. Every time they stop the car, they’re met with screaming people running towards them and seemingly trying to attack them. Throughout the film the group tries to figure out where they are, what’s going on, and whether they’re even alive. What landed this film on my list was that I was exceptionally moved by its existential and spiritual themes, as well as the exploration of early adulthood. It explores the confusion associated with the uncertainty of the future, accepting reality, and how our decisions impact our lives. I found myself constantly looking inward, reflecting and wondering what I would do if I was in the characters’ shoes. This made for an emotional and introspective experience. The dialogue and acting performances in It Ends are naturalistic and feel genuine. This is a great use of a contained setting, limited characters, and simple premise. However, with that being said it still manages to hold weight and contain layers. Overall, the film does a good job at fulfilling its intent because it's clear and consistent throughout all 3 acts.  

1.) Marshmallow

        Marshmallow is an indie sci-fi horror film that’s written by Andy Greskoviak and directed by Daniel DelPurgatorio. I watched it due to seeing recommendation videos on Tiktok and it did not disappoint, in fact I was amazed. I was so shocked by the plot-twist, I watched the film again the very next morning. The story involves children at a summer program investigating an urban legend-like mad scientist, after the staff tell them a scary camp tale. Although the plot was interesting enough, at first I thought it would be just another camp slasher. However once the twist came into play, I became aware that it’s actually a one of a kind and moreso pays homage to classic slashers. I have yet to see a review where viewers have seen the revelation coming. What is so clever about Marshmallow as a horror film is that it uses a traditional setting where children are expected to be kept safe and returned to their families--completely flipping it and demonstrating a new way to look at this setting. It sets itself apart from others in that film category, which is why it's currently catching so much buzz. I think the focus on youth is something that is needed more in the genre, because there’s so much to be explored from childhood anxiety and trauma. Some of the themes examined in Marshmallow are how memory shapes our identity and how truth gives us a sense of safety. Aside from the twist, the very last scene also packs a punch and suggests a sequel might be in the future. It's now available to watch on Shudder and I can’t wait to hear what others think once more people watch it.

Collage made by me, from posters & screen caps from IMDB.com.

Jordan Peele and Sam Raimi Team Up For Adaptation of Dylan Clark’s Portrait of God

 By: Myriam Akbar

In December 2025, Deadline.com reported that Universal Pictures acquired Dylan Clark’s popular horror short Portrait of God and that a feature film is on its way. Jordan Peele and Sam Raimi will be teaming up for the first time, working on the film amongst other writers and producers. 

Portrait of God is available to watch on Youtube, having millions of views and counting. I watched it for the first time today, leaving me with confidence that Peele and Raimi can tackle the project and excited for this full length film. The plot involves Mia, a religious young woman who is preparing for an art presentation, examining a painting titled “Portrait of God.” She has note cards and a timer running on her phone. She listens to recordings of people depicting what they’ve seen in the painting. Holding onto her cross necklace, she stares at a projection screen in front of her. What she sees and experiences leaves her emotionally stunned, unaware that time has flown by. I would describe it but it’s something you truly need to experience yourself–with all the lights off. 

What makes Portrait of God such an effective horror short is that in limited time, you get a sense of the intent behind the story and themes it explores. Simultaneously, you are immersed in the mystery and totally creeped out. The use of a contained setting and minimal characters makes for a focused story that draws you in immediately. Mia (played by Sydney Brumfield) gives a captivating performance at the end, wearing an unforgettable expression of pure fear and astonishment. 

Considering Raimi’s impressive and extensive filmography, as well as Peele’s complex and unique films–I have no doubts that they will successfully adapt this phenomenal short. Providing them with exceptional source material, Clark paints a picture of what it would be like to be met with what is beyond our comprehension. 

Source: Deadline.com

Source for Images: IMDB.com