Friends and horror enthusiasts, mark your calendar for October 28, the day Italian cinemas will premiere a film we urge you not to miss: It Ends, the debut feature by Alexander Ullom, a young American director who, as you will see, has nothing to envy from Curry Barker of Obsession nor from Kane Parsons of Backrooms.
Like those two, Ullom arrives in theaters after a path composed of self-produced short films and YouTube work, and he has immediately demonstrated a clear talent. So much so that Filmmaker Magazine included him in the list of “25 New Faces of Independent Film.”
Presented in world premiere at the SXSW, it is a lean and unsettling film that narrates the story of four friends (played superbly by Phinehas Yoon, Akira Jackson, Noah Toth and Mitchell Cole) who are facing what should have been their last night together after college, which turns into an endless nightmare. As they head toward some sort of club, their Jeep Cherokee traverses a desolate road through a forest, only to realize quickly that the interchange they were seeking never arrives, and that the road itself appears literally endless: every attempt to leave fails, and what lies beyond the road’s edges makes stopping impossible.
If you want to know more about the film, described by the director himself as the meeting between an hang-out movie and an existential nightmare, you can read the review written by Federico Gironi.
Here below the plot, trailer and official Italian poster of It Ends.
Four friends who have just graduated set out on a late-night car trip, hoping to enjoy one last night together before their paths diverge, but they find themselves trapped on a mysterious road with no end, surrounded by inexplicable phenomena and terrifying presences. As reality seems to crumble around them, they must decide whether to accept their fate or attempt an impossible escape. From the producer of Backrooms and the director Alex Ullom, among the most promising new voices in contemporary independent horror, a journey with no escape, an inexorable existential horror that points toward infinity, toward our deepest fears.
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