Thailand’s supernatural folk horror “Cher,” romantic zombie comedy “Cold Feet” and “Third Wheel,” a bridal party-set psychological thriller look like potential wild rides among projects at this year’s Frontières genre pic Co-Production Market, packing one of its highest caliber lineups ever.
They are joined by other potential standouts such as “My Missing Half,” headed by a half-bodied Filipino vampire, and the return of multi-prized Mexican filmmaker Isaac Ezban and Swiss-American doc maker Alexandre O. Philippe.
Many more titles also look enticing. Meanwhile, Frontières submissions have climbed to an all-time record of 136 for the Market and 58 for its Shorts to Features strand. Frontières Platform has run for years at Cannes, selling out in 2026. Among festivals, Berlin, TIFF and Tokyo’s Tiffcom are all adding Frontières project showcases this year.
This strength and strength in depth is a sign of the times, argues Frontières executive director Annick Mahnert.
“It’s a pretty extraordinary year for genre, to be honest,” Mahnert says. “A little film, ‘Obsession,’ suddenly makes millions at the box office, and ‘Undertone” acquired by A24 last year out of Fantasia, became another success story.”
“Studios are starting to realize that a movie doesn’t need to have a studio budget to become a crowd pleaser,” she adds. “I have Searchlight and Focus Features coming to Frontières. I never had these types of studios before. And five genre films won Oscars and the Berlinale and Cannes screened multiple genre films across all sections.”
So Frontières is “going back to basics,” Mahnert says, focusing on “the new generation of filmmakers. We’re looking for these little gems.”
10 of the 20 projects in Fantasia-Frontières’ official selection this year are first features.
However small, titles can still come loaded with stars or prizes. “Cher” packs a powerful Thai star punch of Mim Rattanawadee Wongthong, who broke out in hit horror franchise “Death Whisperer,” plus Pae Arak and Weir Sukollawat, stars of box office smash ““4 Tigers.”
Already a buzz project in the build up to Frontiéres, “My Missing Half” is now a big winner at South Korea’s Bucheon International Fantastic Film Festival (BIFAN), scoring its Asian Discovery Award and the Badclay VFX Innovation Award on July 9.
“My Missing Half” leads an ever stronger Asian presence at Frontières. “As the world is opening up now and opportunities are opening, more and more countries are looking for either investors or co-producers outside of Asia,” says Mahnert.
Also, and suddenly it seems, multiple titles’ creators or producers have already won recognition, often in more traditional spheres. “Echoes” is executive produced by Kath Shelper whose “Samson and Delilah” won Cannes Camera d’Or for best first feature.
“It Takes a Circus,” from Zoe Rameshu, director of “Third Wheel,” was nominated for the 48th Academy Awards. Her “To the Plate” was shortlisted for a student BAFTA.
“My Missing Half” is produced by the Philippines’ This Side Up which scooped a Sundance Special Jury Prize with “Leonor Will Never Die.”
“The Great Canada Day Massacre” marks Elza Klephart’s follow-up to “Slaxx,” which premiered at the Fantasia Film Festival, where it won the Audience Award for Best Canadian Feature and became Shudder’s No. 3 best ranked film of 2021.
Calabrian Rhode, behind “Ring Leader” at Frontières, produced Netflix Original romantic comedy “The Royal Treatment,” which bowed No. 1 worldwide on the streaming service in Jan. 2022.
Horror has even become part of soft power. “True horror reveals the heart of a culture, and as part of the new generation of storytellers in Asia, we are proud to empower Thai filmmakers to bring our local folklore onto the world’s cinematic stages,” says “Cher” producer Hans Audric Estialbo, CEO of Fearfolks, also the film’s sales agent.
A closer look at titles at this year’s Frontières Co-Production Market:
“Any Means Necessary”
Director: George Mihalka
Producer: Cream Productions
The U.S. had Roger Corman, Canada has had, among others, Cinépix. “Any Means Necessary” pays tribute, directed by Mihalka, who helmed its classic My Blood Valentine. Promising interviews with Eli Roth and Slash, the premium doc feature explores how Cinépix launched careers – Cronenberg, Ivan Reitman, battled censorship, sparked boffo box office with its erotica and broadened the boundaries of genre. “‘Any Means Necessary’ is our opportunity to celebrate the films that changed genre cinema and the fearless visionaries who made them possible,” says creator-producer Susan Curran.
“Aurora Comes Home” (Canada)
Director: Gloria Mercer
Producer: Pink Buffalo Films
Produced by Vancouver’s Pink Buffalo and set in rural Northern Canada where a family unravels after the sudden, mysterious disappearance of their daughter. An eerily familiar woman arrives 18 months later. “A tense, intimate take on the alien abduction story” which “marries science fiction spectacle and grounded character drama to tell the story of a woman who faces immeasurable loss and finds the courage to move forward,” Mercer says.
“Birth,” (Estonia)
Director: Oskar Lehemaa
Producer: Stellar Film
The live action feature debut of animation star Oskar Lehemaa, selected for Sundance with “Bad Hair” and a Fantasia winner for “The Old Man Movie.” Edson Jean, behind “Sea Sprits, directed social realist “Ludi,”which world premiered at SXSW.
From Stellar Film, behind Lehemaa’s 2020 Sundance-selected “Bad Hair” and Göteborg 2024 standout “The Missile. Desperate to have a child, a couple travels to a fertility rite deep in the Estonian forest – only to realize they’ve been lured there to be sacrificed. A film that “merges the unsettling power of body horror with the intimacy of a relationship drama,” says producer Evelin Pentillá at Stellar.
“Cher,” (Thailand)
Director: Songsak Mongkolthong
Producer: Benetone Films, Fearfolks
Cop Jade investigates a vine-covered corpse near a remote mining camp encroaching sacred forestland, clashing with estranged brother Joe. As rumours build of a vengeful Thai forest spirit a mysterious young woman appears. One of Frontières’ buzz titles, helmed by Mongkolthong (“School Tales The Series”), from Benetone (“Perfect Girl”) and Fearfolks, distributor in Thailand of A24’s “Backrooms” and Neon’s “Hokum,2 and from a screenplay by Patrick Graham, the writer behind Netflix’s Indian horror series “Ghoul” and “Betaal.”
“Cold Feet,” (Czech Republic, France, Poland, India)
Director: Apoorva Satish
Producer: Off Beat Films (Czech Republic) Telemark (Poland), Ici et Là Productions (France), La Sutra Pictures (India)
At their Czech–Indian wedding, Jacob and Mia’s tradition-hungry guests unexpectedly begin transforming into flesh-eating monsters. To make it out alive, the couple must keep choosing each other, even as everyone tries to tear them apart, literally. “At its heart [“Cold Feet”] is an interracial couple reclaiming their relationship from everyone convinced they know what their love should look like,” Satish tells Variety.
“Delivery” (Mexico)
Director: Isaac Ezban
Producer: Red Elephant Films, Sin Sentido Films
The latest from multi-prized Mexican filmmaker Isaac Ezban (“The Incident,” “The Similars,” “Parvulos”), a time travel sci-fi road movie and “my most personal project yet.”
A lonely trucker meets an abandoned girl in a border town. Fate, or something more sinister, will set them on an unexpected road trip, with devastating consequences. “My most personal project yet. A story about the contrasts of our existence…the borders we create in our relationships…and the one theme that has always that has always defined my work: the passage of time,” Ezban tells Variety.
“Grandmonster” (“Bestemorder,” Norway)
Director: Vegard Dahle
Producer: Syden Pictures
“While trying to save her grandmother from dementia, an American dropout triggers a zombie outbreak at a remote Norwegian nursing home. “The scariest part of ‘Grandmonster’ isn’t the zombies, it’s watching someone you love gradually disappear. We use zombie horror as a metaphor for dementia, and as a vehicle for satire about a healthcare system that treats the elderly as a liability rather than a legacy,” says Dahle.
Read more ‘Big Break’: In This Meta Horror Comedy, a Real-Life Sketch Group Pursues Fame and Dodges a Killer
A Sitges 2025 FanPitch winner.
“The Great Canada Day Massacre,” (Canada)
Director: Elsa Kephart
Producer: GPA Films
“Gory and entertaining” but also “deeply political,” says Kephart. Becca, a fierce climate activist, returns to her hometown, uncovering a secret deal to sell the protected Conservancy Forest and a string of gruesomely patriotic murders targeting those involved. What sets “Massacre” apart? “Hilariously gruesome deaths by iconic Canadian objects! Think about the damage moose antlers or a 20kg curling stone can do!” Klephart argues.
“Gro(ceries)” (U.K.)
Director: Sophie King
Producer: Five by Five Films
Headedand co-writtenby “Sex Education” star Chinenye Ezeudu-Sterling, and billed as a dark horror comedy and a “bold vision that reinvents vampire mythology through a distinctly contemporary lens,” say producers Rosanna Eden-Ellis and Catherine Joy White. Gro, raised by vampires, discovers she’s something far worse: human, since adopted. Her desperate attempt to transform and be like her family unleashes a blood-soaked reckoning over who she really is.
“The Fall,” (U.S., France)
Director: Alexandre O. Philippe
Producer: Medianoche Productions (U.S.),
“In the final seconds of Alfred Hitchcock’s ‘Vertigo’, Judy falls to her death, but Hitchcock never shows us how, keeping his camera locked on a 57-frame close-up of Scottie’s face. “‘The Fall’ is a forensic investigation into cinema’s most elusive image: the missing moment at the heart of Hitchcock’s greatest mystery.” “I’m not trying to solve the riddle at the end of Vertigo, I want to inhabit it, and to follow what happens when some of the greatest filmmakers alive stare into an image that refuses to resolve,” says O’Philippe.
“Humpty: American Dream,” (U.S., Canada)
Director: Carl Fry and Maxwell Nalevansky
Producer: With Pleasure Cinemagroup (U.S.), Ghoul Nexus (Canada)
An off-kilter biopic spoof with eye-catching concept art. To save his kidnapped wizard father, Humpty leaves his enchanted forest for the plague-ridden Kingdom of Orange County, sees a meteoric rise in popularity but internal existential crisis. “Though unlike Bruce Springteen, Mark Kerr and J. Robert Oppenheimer, Humpty is an alcoholic egg with no genitals. It’s like if Tinto Brass directed ‘Shrek,’” its directors say.
“Injured Reserve,” (Canada)
Director: Tyler Mckenzie Evans
Producer: Area V5 Pictures and Still Good Pictures
Teresa is an 18-year-old Black basketball prodigy, raised on the court by Darius, her coach and single father. Basketball is their only language and Teresa’s only identity. Then a mysterious new player and a career-threatening injury sidelines Teresa. “At the heart of ‘Injured Reserve,’ is a universal fear: What happens when the one thing that defines you is suddenly taken away?’ ask its filmmakers Mckenzie Evans, Malachi Ellis and Claire Desmarais.
“The Mire,” (“Suonsilmä, Finland)
Director: Marika Harjusaari
Producer: Silva Mysterium Oy (Finland), Hobab (Sweden), Handmade Films in Norwegian Woods (Norway), Mistrus Media (Latvia)
Written by Ilona Ahti, the scribe on Alli Haapasalo’s 2022 Sundance Audience Award winner “Girl Picture,” and produced by Silva Mysterium Oy, behind Sundance and sales hit “Hatching.” In a remote Finnish 19th century village, milkmaid Iiris leaves unwanted newborns to die in a nearby swamp until, torn between old-world ritual and newfound faith, when a forward-looking pastor arrives, she finally rebels. “I think communities often survive by deciding who will carry what everyone else cannot – the Mire asks what happens when that person can no longer carry it,” says Harjusaari.
“My Missing Half,” (Philippines, Japan)
Director: Rodiell Veloso
Producer: This Side Up
Boldly genre bending Philippine folk horror as a manananggal – a Philippine vampire who can disengage from its lower half – becomes the heroine of a darkly comedic horror movie alongside other misfits. “While embracing outrageous humor and supernatural adventure, the film explores universal themes of identity, body image, shame, self-acceptance, and belonging,” the filmmakers said in a statement.
“Ring Leader,” (U.S., Canada)
Director: Jason Lapeyre
Producer: Calabrian Rhode (U.S:), Osaka Sunset Pictures (Canada)
A codependent and unstable bridesmaid attends her best friend’s remote bachelorette party only to find herself in a claustrophobic social death match where toxic friendship and bridal performance devolve into carnage. “‘Ring Leader’ will be a wildly entertaining horror-comedy that cuts to the heart of the vicious power dynamic between female friends and the cultish roots of wedding rituals. It’s ‘Bridesmaids’ meets ‘Ready or Not’ and we’re out for blood,” promises Lapeyre.
“They,” (U.K.)
Director: Faye Jackson
Producer: True Moon Pictures
After renting a room to a conspiracy theorist, a skeptical gardener begins to fear he might be right as the dead colonize her home, demanding her submission to an ancient cult. “‘They’ sidesteps the politics of conspiracy theories to examine the underlying fear. What if it’s not only true, but worse than you can possibly imagine? They are watching you. They do want to control you. The algorithm is ancient,” says writer-director Jackson of “They.”
“Third Wheel,” (South Africa, the Netherlands)
Director: Zoe Ramushu
Producer: (PRPL, Totem Zea)
At her white adoptive family’s estate, Thina (26), a Black surgeon straddling two worlds, prepares for her wedding with a woke Black fiancé and her white adoptive sister – her best friend. But at a boozy weekend devotion twists into possession. A wedding is “the day you’re supposed to publicly declare who you are and who you belong to… and that can become a nightmare. Literally,” Zamushu tells Variety.
“Violent Delights”
Director: Jack Warren
Producer: Cellar Door Cinema Club
A trans boy and a cannibal girl fall in love, then fight for survival against her homicidal family. From New York, L.A. and Dublin-based Cellar Door, “filled with cannibal kills conceived to impress the most hardened gore fiends, the film forefronts character while telling a terrifying love story about the dangerous thrill of being consumed by desire,” says Warren.
Shorts to Features
“Echoes,” (Australia)
Director: Gemma Lee
Producer: Magic Hour
A neural engineer trapped inside a time loop of his own creation races to save his dying wife before every memory of her is erased forever. “‘Echoes’ asks how far we would go to hold onto the person we love, knowing we must eventually let them go. It explores love not as idealised devotion, but as something raw, imperfect and profoundly human,” Lee tells Variety. Currently financing attached as exec producer with a proof of concept short.
“Eternal Valley,” (U.K.)
Director: Jasmine De Silva
Producer: Runner Up Films
A darkly comedic body horror pic from De Silva, a makeover of proof-of-concept “Beauty Sleep,” described by Rue Morgue as “biting and hilarious.” When the first place beauty queen commits suicide, her best friend, in order to win the pageant, starts to wear the dead friend’s face. “Set in a sugar coated yet sinister and retro-futuristic world, ‘Eternal Valley’ amplifies that there always has been, and always will be, an unattainable beauty standard to chase,” says De Silva.
“Noodles, Our Love Was Instant and Forever,” (Philippines)
Director: Whammy Alczaren
Producer: Daluyong Studios
As climate doom looms and reality becomes nightmare fantasy, a chaotic circle of queer teenage boys plan for a cosmic future laced with aliens, ghosts, and immaculate conceptions. “Internet culture – brainrot, vines, and Tik-tok — will marry traditional techniques such as rear projection, practical effects, and tableau staging,” promises Alczaren. “The film is a cinematic love letter to resilience, queer joy, and the small acts of care that persist amid collapse,” he adds.
“Reset,” (U.S.)
Director: Celine Tien, Jerry Hsu
Producer: SPL Max Productions
From Tien, founder of Flowly, an NIH-backed VR healthtech company, and Hsu, a Yale computer science student. In a near-future where the elderly are physically reset into children to remain economically useful, a young woman becomes the reluctant caretaker of her newly reset mother. “Having built careers across AI, healthcare, and film, we set that story in a near future shaped by automation because we’ve seen these systems from the inside,” say Tien and Hsu.
“Sea Spirits,” (“Lespri Lanmè,” U.S., Jamaica)
Director: Edson Jean
Producer: Bantufy, Full Spectrum
Described as Gothic folk horror, “Sea Sprits” turns on a guilt-ridden mother living amid social and political upheaval, who haunted by her daughter lost at sea refuses to leave the country so as to search for her ghost. “With Sea Spirits, we return the zombie to its Haitian spiritual origins through motherhood, migration, and the horrors history leaves behind,” Jean tells Variety.
“XX,” (Netherlands)
Director: Nina Noël Raaijmakers
Producer: Make Way Film
Up-and-coming scream queen Roxy undergoes an unauthorized uterus transplant after a freak accident on a B-horror film set. But the uterus begins to rot on the misogynistic film set, taking on a life of its own. A visceral body horror with grounded practical effects, which pictures Roxy trapped between “the exploitative film industry and the paternalistic medical system,” From Monique van Kessel’s Dutch genre mainstay Make Way Film, “XX” scored a Sitges WomanInFan Special Mention in 2025.
“You Were Never Here,” (Austria, Canada)
Director: Johannes Grenzfurthner
Producer: Monochrom (Austria), Sunsmasher, Ghoul Nexus (Canada)
At a remote research facility, people from across human history briefly materialize every four minutes and 56 seconds – bamboozling scientists and officials. “The film combines hard science fiction, institutional absurdity and existential dread, but it is ultimately about people trapped inside a system that can measure almost everything except its own meaning,” says Johannes Grenzfurthner.
Genre Film Lab
“Loup-Garou,” (Canada)
Director: Nathalie Therriault
Producer: Latchkey Pictures
From Therriault and her Vancouver-based Latchkey Pictures, a “fresh, deeply personal take on a classic myth, blending historical authenticity with emotional realism,” says Therrialt, talking of the loup-garou, the French version of the werewolf. In this folk horror, set in 1917 rural Québec, during the sacred season of Lent, two farmers’ wives navigate their long-hidden love as the community spirals into hysteria over a loup-garou killing sinful men.
“Severed,” (Canada)
Director: Lauren Marsden
Producer: Ecstatic Time Productions
Visiting her extended family in a Caribbean village, a biracial teenager discovers a severed colonial statue head that curses the community with unrelenting sickness, forcing her to confront the island’s haunted past before it destroys everything she loves.
“The horror unfolds amidst bubbling mud volcanos, chaotic night markets, pulsing island rhythms, and the ever-present hypnotic dread of the sea,” Marsden promises.
“Stacy’s Mom,” (Canada)
Director: Marushka Jessica Almeida
Producer: Cult Following Pictures
Repressed teenager Yoko discovers that the hot MILF who’s just moved in next door is actually a soul-sucking succubus, pushing her to navigate a budding romance with Stacy and save herself and her father’s soul. Selected for the QueerFrames 2025 Screenwriting Lab Presented by Netflix and “angry, erotic and gay AF,” says Almeida.
“To the North,” (Canada)
Director: Jean Parsons
Producer: Ceroma
Francine, an isolated homesteader, lives trapped in a dead marriage. Suddenly her partner goes missing and she finds a strange man unconscious in the woods, who unleashes repressed desires – and a growing fear that her new lover might be her husband’s killer. “Set in the forbidding grandeur of the subarctic Yukon, “To The North” is about sex, nature, the messiness of desire, and how humans often pursue the things they want against all better judgment,” Parsons tells Variety.
“Wifey,” (Canada)
Director: Cassidy Civiero
Producer: True Sweetheart Films
Set up at Montreal’s True Sweetheart, behind fest hit “The Rebrand,” “Wifey” turns on Mara, on the cusp of transitioning female-to-male, who is seduced by a rural f*ckboy, Jack. A seemingly harmless fling turns sinister…. “‘Wifey’ is a manifestation of the surreal shift that can come with transitioning FTM, and is part of the next wave of trans cinema,” Civiero tells Variety.