8 May 14 - 20, 2026 dallasobserver.com DALLAS OBSERVER Classified | MusiC | dish | Culture | unfair Park | Contents Under the Radar Our picks for five indie films you should see this year that are pushing the boundaries. BY PRESTON BARTA I ndependent cinema continuously pushes the boundaries of fear, love and human endurance. This year, particularly, it de- livers an exceptional crop of movies that might otherwise fly under your radar. We first caught these remarkable films at the South by Southwest (SXSW) film festi- val in March, and they immediately stood out as unforgettable cinematic experiences. From chilling queer horror to haunting tales of survival, these projects bypass predict- able formulas and offer human narratives wrapped in wild, imaginative premises. Here are the five indie films you simply cannot miss this year, in no particular order: 1. Wishful Thinking Graham Parkes’ Wishful Thinking took home the Narrative Feature Competition jury prize at SXSW this year. This sci-fi romantic comedy stars Maya Hawke and Lewis Pullman as a young cou- ple whose intense attraction and emotional highs and lows literally set off seismic events. When their love is on the rocks, the very ground beneath them seems to split apart, physicalizing the inner chaos of love on the verge of collapse. Yet, Parkes weaves these clever sci-fi mechanics into a story that never loses its humanity. Each tremor serves as a metaphor for the unpredictable and often fragile nature of connection. The true magic of the film rests squarely on the shoulders of Hawke and Pullman. They deliver performances that are nuanced and beautifully authentic, allowing their chemistry to feel like a magnetic tug-of-war. Sometimes, the tone bounces between infectious joy and unbearable, truthful pain. As they navigate a love that proves to be overwhelmingly power- ful, you find yourself desperately rooting for them to fix what is broken. Sony Pictures Classics recently acquired the film, but no official release date has been announced yet. 2. Leviticus Adrian Chiarella’s Leviticus arrives as a stag- gering work of queer horror filled with beautiful but haunting metaphors. Set against the bleak, rusted backdrop of an in- dustrial town gripped by religious conserva- tism, the film follows a group of queer youths hunted by an insidious force. To the outside world, these entities are completely invisible. But to the targeted teenagers, the monster takes the shape of the person they love the most, turning their deepest desires into a deadly lure. It channels the relentless, creeping dread of It Follows, yet grounds its terror in some- thing far richer, wrapping its supernatural scares in genuine, devastating heartbreak. In many ways, Leviticus is an incredible ex- ploration of how the world around us can twist the truest parts of ourselves into weap- ons. It taps into the haunting silence of isola- tion, illustrating how societal fear forces young people to view their own identities as a threat. The narrative wrestles with the painful idea that fear is often taught as a twisted survival mechanism in spaces that fiercely resist difference. NEON is set to release the film in the- aters on June 19. 3. See You When I See You Jay Duplass’ See You When I See You re- cently screened at a few festivals, including Dallas’ USA Film Festival in April. It could’ve easily veered into melodramatic territory, but Duplass and Co. skillfully bal- ance humor and profound devastation, working in elements that delve deeper into the raw emotions at play. The film explores the messy, nonlinear reality of grief following the devastating loss of a sister and best friend to suicide. Starring Dallas’ own Cooper Raiff in a career-defin- ing performance, the story follows a young man grappling with a sudden void, turning to self-sabotaging tactics to numb a pain too vast to carry alone. See You When I See You channels the spirit of a bittersweet hangout, proving that even in our darkest hours, life still manages to surprise us with a reason to laugh. The film’s brilliance lies in its authentic portrayal of a family facing the impossible. Anchored by an incredible en- semble cast featuring Kaitlyn Dever, Lucy Boynton, David Duchovny and Hope Davis, each character navigates their shared tragedy in deeply personal, often conflicting ways. We watch them wrestle with the necessity of ritu- als like a funeral, which act as vital anchors to help us process the unthinkable while trying to forge a path forward. While the subject matter warrants a gentle warning for sensitive viewers, the emotional payoff is profoundly beautiful and impossible to forget. The film is currently seeking distribution. 4. Hokum Hokum proves that you do not need a laby- rinth of complex plotlines to thoroughly cook a viewer’s nerves. Directed by Damian McCarthy, this traditional, restrained horror piece feels exactly like a classic Stephen King story that the legendary author simply forgot to write. The film strips away unnec- essary layers to let its pure, foundational scares genuinely shine. It centers on an abrasive, cynical writer who suddenly finds himself locked inside a hotel room with a rich, blood-soaked history. Soon, he is haunted by the chilling type of creations he pens — most notably, a terrifying witch who makes her presence known in the room’s darkest corners. By keeping the narra- tive simple, the film allows its shadows to pop with visceral energy, delivering a genuinely creepy experience. What makes Hokum such a notable terror is how it juggles tension and release. It heavily channels the claustropho- bic dread of The Shining and 1408, yet it never becomes bogged down by its own weight. Woven seamlessly into the nerve-shred- ding tension is a sharp, dark sense of humor that makes the ride entertaining from start to finish. At the center of this haunted room is Adam Scott, who sheds his familiar come- dic warmth to deliver a visceral perfor- mance as a bitter man. He grounds the supernatural chaos with compelling panic. If you want an exceptionally spooky film that knows exactly how to manipulate the dark, Hokum is a perfect choice. The film is in theaters now. 5. The Ascent The Ascent claimed the Audience Award in the Documentary Feature Competition at SXSW, serving as a testament to human en- durance and the fierce pursuit of truth. The documentary follows Mandy Horvath, a bi- lateral amputee, taking on the seemingly im- possible task of crawling up Mount Kilimanjaro. Yet the film is much more than a standard triumph-over-adversity narrative. It operates as a gripping, poignant mystery, working to untangle the hazy, traumatic night out that left Horvath unconscious on a set of railroad tracks. As she hauls herself up the grueling Afri- can peak, the story seamlessly weaves through the unanswered questions of her past, creating a portrait of resilience and de- termination. What sets this documentary apart is its beautifully literary editing style as the film parallels her harrowing ascent with her adapted everyday routines and the chill- ing investigation into her trauma. It captures the physical toll of her journey, highlighting the reliance on her hands as they drag her to- ward the sky. Horvath proves to be a luminous, fiercely independent soul who reaches for the im- possible to see her dream realized and to es- cape her nightmares. The film does not shy away from the physical pain of her reality, yet it radiates defiant hope and an invigorat- ing triumph. The film is currently seeking distribution. Honorable Mentions While the five films above easily defined our festival experience this spring, there are plenty of other cinematic treasures to keep in mind. Be sure to keep an eye out for these incredible standouts as well: A Cowboy in London - This exuberant Charley Crockett documentary and concert film paints an intimate, pulse-quickening portrait of one of Texas’ most magnetic coun- try artists. It’s a rare backstage pass, revealing Crockett not just on stage but in quieter, more personal moments. The film stands out for how deftly it intertwines the perspectives of Crockett’s wife, Texas musician Taylor Grace, and his longtime friend and collabora- tor, Dallas filmmaker Jared L. Christopher, both of whom illuminate the artistry and grit behind Crockett’s every move, whether he’s performing for an international crowd or finding stillness on the road. The film is cur- rently seeking distribution, but can be seen in full for free on YouTube. Over Your Dead Body - Imagine a romantic comedy filtered through the adrenaline and quirk of the “Zed’s dead” sequence in Pulp Fiction.” It’s offbeat, stylish and memorable as filmmaker Jorma Taccone brings the heat. It’s now playing in select theaters in the area. Crash Land - A coming-of-age adventure about backyard stunts, bruised shins and a heart that knows how to win, starring Ga- briel LaBelle, Finn Wolfhard and Abby Quinn. This one explores grief through film- making and creative ambition, blending sin- cerity with genuine fun. The film is currently seeking distribution. ▼ FILM SIMMONS IN CINEMA KISS’ GENE SIMMONS MAKES ACTION MOVIES NOW, WITH HIS FIRST PRODUCTION ALREADY HONORED BY A DALLAS FILM FESTIVAL. BY PRESTON BARTA D allas recently hosted a collision of rock-and-roll royalty and action-cin- ema pedigree. On Friday, April 24, ▼ Culture Kristofer Bonnell Gabriel LaBelle (left) and Finn Wolfhard star in Crash Land.
