HtN’s 15 Most Anticipated Films of SXSW 2026

Hammer to Nail is traveling to Austin as lead critic Chris Reed is once again headed to the Texas state capital. SXSW 2026 runs March 12-18. With 120 features, 90 of which are world premieres, plus assorted television pilots, XR exhibits, shorts, not to mention panels, mentoring meetups, keynote speakers, and so much more (and that’s not counting the other conferences, which include Music and Innovation). From big studio films to micro-budget indies, SXSW has an enormous amount of creativity on offer. Below, Chris lists 10 films he’s already seen that he recommends, and Editor-at-Large Matt Delman lists his own 5 recommendations (only 1 that he’s seen yet) for our 15 most anticipated.

Amazing Live Sea Monkeys (Mark Becker/Aaron Schock)

Anyone who read comic books from the mid-1960s through the mid-1980s no doubt remembers the illustrated advertisements for “Sea Monkeys.” Though I never ordered them, myself, I was always curious about their origin and whether they actually came alive when mixed with water, as per the copy. Though not all my childhood questions were answered by the new documentary Amazing Live Sea Monkeys, from filmmakers Mark Becker and Aaron Schock (Circo), enough were—along with others I never thought to ask—to satisfy my long-held curiosity. On top of that, the narrative is full of enjoyably surprising twists and turns. (Chris Reed)

Beyond the Duplex Planet (Beth Harrington)

In 1979, when he was just recently out of graduate art school, young David Greenberger found a job working for the Duplex Nursing Home in the Boston, Massachusetts, neighborhood of Jamaica Plain. In her new documentary Beyond the Duplex Planet, director Beth Harrington (The Winding Stream) chronicles Greenberger’s time at Duplex, showing how his interviews with the people in his care became the source for a zine he entitled The Duplex Planet. He published their stories and artwork, adding his own touches, bringing the lives of these men to an audience that would otherwise have ignored them. Everyone should feel as though they have meaning and purpose; Greenberger gave that gift to the Duplex residents.(CR)

Black Zombie (Maya Annik Bedward)

In her feature debut, Black Zombie, director Maya Annik Bedward gives the viewer a rich feast to digest. We begin in Haiti, at night, on a creatively staged scene which will repeat throughout. An opening voiceover intones that there, on the island, “zombies are real.” Except that these are not George Romero’s flesh-eating beasts, but rather human beings who have been enslaved through sorcery. What follows explains how misconceptions and willful one-dimensional appropriations of this one aspect of Haiti’s native Vodou faith have led to racist interpretations and usages of the zombie figure in literature and on screen. These dead were made for walking, but so much more, as well. (CR)

First They Came for My College (Patrick Beesnan)

In First They Came for My College, director Patrick Bresnan (Naked Gardens) tells the sad tale of what happened to the New College of Florida. The current governor of Florida decided to declare war on “woke” (whatever that means) and appointed a conservative majority to the college’s board. Bresnan follows the rapid pace of change from the eyes of students and faculty, some of whom leave. The entire plan of attack is to recruit a new generation of students who will study “Western values” and play sports. Neither of those are bad, in and of themselves, but a meaningful education should include the broadest possible range of beliefs. Similar battles are happening across the land. First they came for the college. Tomorrow they’ll come for you. (CR)

Grind (Brea Grant/Ed Dougherty/Chelsea Stardust)

A well-constructed anthology film that ably mixes horror and comedy, Grind—from the directing trio of Brea Grant, Ed Dougherty, and Chelsea Stardust—is also a sharp critique of late-stage capitalism and the Amazonian/Starbucksian/Etceterian behemoths at its center. Divided into four sections, bookended by a prologue and epilogue, the movie has a lot to say about the world of today and has a lot of fun saying it. Think the oligarchs who rule our universe are evil? They are, and Grind finds the twisted humor in our desperation (with a hint of optimism at the end). (CR)

A still from PHOENIX JONES: THE RISE AND FALL OF A REAL-LFE SUPERHERO.

Phoenix Jones: The Rise and Fall of a Real-Life Superhero (Bayan Joonam)

Comic books as we know them today have been with us since the 1930s, when caped crusaders Superman and Batman were both introduced (from DC Comics). Later came Marvel. With the success of television and movie adaptations of many of these narratives, we have all become accustomed to seeing vigilantes step in to tackle tough problems. On the screen, that is. In Phoenix Jones: The Rise and Fall of a Real-Life Superhero, they do so on the actual streets of Seattle, Washington. Like their fictional counterparts, they encounter opportunities and obstacles in their fight for justice. Most of us don’t have great power, but we still share responsibility for the fate of humanity. (CR)

A Safe Distance (Gloria Mercer)

Written by Aidan West and directed by Gloria Mercer—both making their feature debut and here adapting a 2021 short of the same title—A Safe Distance has the great virtue of narrative unpredictability which, coupled with fine performances from the two lead actresses, makes for a wholly engaging watch. Bethany Brown and Tandia Mercedes star as Alex and Kianna, women who find friendship, sexual attraction, and possibly love in the unlikeliest of circumstances. How they end up together is the mystery and joy of the film. (CR)

Serling (Jonah Tulis)

Born in 1924, the great Rod Serling, creator of The Twilight Zone—one of the best television series of all time—lived through tumultuous times and emerged with a deep commitment to social justice and speaking his mind. Though he died of a heart attack at the far-too-young age of 50, in 1975, he left behind an artistic legacy to make anyone proud. In Serling, director Jonah Tulis’ thoroughly engaging new documentary about the man, we get all the cinematic and real-life goods a fan could desire, with a plethora of detail to satisfy newcomers to the topic, as well. (CR)

Sparks (Fergus Campbell)

Sparks, the debut feature from Fergus Campbell, stars Elsie Fisher (Eighth Grade) as Cleo. Fisher brings their usual strong, committed performance—appreciated even in the mess that was the 2022 Texas Chainsaw Massacre—to the part, imbuing Cleo with a painful yearning to be anywhere but here. Fortunately, the new group of friends Cleo is about to make offer a way out. The beauty of Sparks is in the evocation of youthful exploration and imagination, Campbell never passing judgment on the fantasies and contradictions of his eclectic cast of characters. The wonders of the mind can lead to anything; even, perhaps, time travel. Or possibly a mental breakdown. Alienation is its own form of narcotic. No matter one’s interpretation of the narrative and the potentially tragic ending, there is cinematic joy to be had in watching both unfold. (CR)

Stormbound (Miko Lim)

If you’ve seen movies like the 1996 Twister and/or its sequel, the 2024 Twisters, you know what storm chasers are; at least the Hollywood version. In Stormbound, director Miko Lim’s feature-length documentary debut, we meet Jeff and Sara Gammons, two real-life videographers and photographers who capture footage of some of the most violent atmospheric events on the planet and live to tell about it and then go again. Stormbound is filled with some amazing footage of tornadoes and hurricanes, the more recent material captured with drones and high-quality cameras. It stuns. We watch dark clouds form and swirl, high winds gathering, and wonder, “Why are they driving towards the menace?” Because it’s beautiful. Cinematographer Rich Hama (The Rose: Come Back to Me) deserves full credit for sticking with them and delivering his own goods, in IMAX. (CR)

Ugly Cry (Emily Robinson)

Emily Robinson’s feature directorial debut Ugly Cry is equal parts hilarious and disturbing. Robinson plays Delaney, an aspiring actress who gets a note from a producer during an audition process that she has an ‘ugly cry’. Naturally this leads to a botox addiction, which is objectively insane as Robinson could still pass for a cool highschooler, but also reflects a real mental health issue affecting thousands of people in our business. Ugly Cry goes way deeper than ‘preventative crows feet’ jokes–which also land–and into the psyche of a young actress striving for success in today’s Hollywood (any LA landmarks are noticeably missing from the film). Robinson fully commits to the part and explodes off the screen in the guttural ‘real crying’ scenes, which are compellingly juxtaposed to the ‘fake crying’ scenes. These moments are sure to play through the roof in a theater with the Austin crowd. (Matt Delman)

l-r: Nick Jonas and Paul Rudd in POWER BALLAD. Photo Credit: David Cleary.

Power Ballad (John Carney)

John Carney co-writes and directs this musical-comedy starring Paul Rudd and Nick Jonas, what else do you need to know? This is a Lionsgate release, so not a small indie film, but thought it was worth highlighting as it’s a fusion of two styles. The enjoyable shmaltz and beautiful music of Carney’s films, mixed with the goofiness of Paul Rudd who we know can slappa-da-bass. I expect it would be extremely hard to not have a good time, and I don’t even care about the Jonas brother. (It’s not the one who was in The Righteous Gemstones, the other one). (MD)

Wishful Thinking (Graham Parkes)

Maya Hawke plays Julia, a game designer, which reminded me of the recent casting of Daisy Edgar Jones as Sadie Green in the adaptation of ‘Tomorrow, Tomorrow and Tomorrow’. For his debut feature, Wishful Thinking, Director Graham Parkes (who also designs indie games at his other job) gamifies their entire universe by making the central couple’s relationship affect the physical world around them. Hawke stars opposite Lewis Pullman (Top Gun: Maverick), and the rest of the cast is filled out by Randall Park, Jake Shane and Kate Berlant–which ensures some big laughs. (MD)

Cornbread Mafia (Evan Mascagni/Drew Morris)

Produced by Danny McBride and David Gordon Green, this documentary is a slice of Kentucky folklore. Though Cannabis is legal now in many states, it is not yet recreationally in Kentucky, so there’s a heavy crime element to the story. Directing duo of Evan Mascagni (DOC NYC’s 40 under 40) and Drew Morris plumb the depths of the largest marijuana syndicate in US history – this ain’t no ‘Tegridy Farms’. The animated sequences could be reason enough for a pre-screening sesh. (MD)

Normal (Ben Wheatley)

Bob Odenkirk is one of the finest actors working today straddling comedy, drama and action. From Mr. Show to Better Call Saul to Nobody, he is endlessly watchable and I expect to enjoy his latest Normal, from director Ben Wheatley (High-Rise). The setting seems Fargo-esque but the story is sure to be even more brutal. Should shake the walls of the Paramount Theater. If you miss the SXSW premiere, Magnolia Pictures is releasing it wide in April. (MD)

– Christopher Llewellyn Reed (@ChrisReedFilm) and Matthew Delman (@ItsTheRealDel)

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