Welcome back to the monthly indie movie roundup. As a reminder, not every film listed was officially released in September — that’s just when I viewed them. If you want to dive deeper, simply click on the film title to read the full review.
Here are 10 independent productions I watched in September 2026, listed in viewing order:
‘The Room Below’
“The Room Below” mixes standard horror, psychological thriller and creature feature elements, often becoming tangled in the process. Still, writer-director Kurt Martin delivers additional context throughout the 92-minute runtime to tell a story about grief and the trauma that comes along with it. Raising the stakes until the very end, it goes from weird to scary to unhinged.
‘Dark Hollow’
This is less of a creature feature and more of a drama. About a family fighting a domain eviction due to mountaintop removal mining, “Dark Hollow” shows the horrors that come from corporate greed and environmental desecration. Patience is key for horror fans, as writer-director Daniel Byers waits until the final 30 minutes to deliver buckets of blood, including an instantly memorable electric pickaxe scene.
‘Ever After’
With a 125-minute runtime, “Ever After” is long. Despite feeling overstuffed in moments, there is a plethora of horrific scenarios for genre fans to enjoy. Focusing on killers who believe they’re classic fairy-tale characters, co-writer and director Laszlo Illes gives each person their own “short story.” By the end, he delivers a series of splatter-filled scenarios that put you in the middle of a creepy carnival.
‘CHAT’
Limited resources don’t mean “bad.” Writer-director Ole J Hartmann made “CHAT” on a $25,000 budget, exploring artificial intelligence through a supernatural horror lens. Amid the scares are also darkly comedic moments — one taking place in a bathroom that is hard to forget about. Carter Sirianni may just be the most memorable aspect of the film, shifting from “loving dad” to absolutely demented.
‘Adam’s Fire’
“Adam’s Fire” offers hope in the middle of discomfort, exploring the stages of trauma, sorrow and acceptance that follow the loss of a loved one. Writer-director Bob Ahmed mixes in additional topics like military PTSD and discrimination that share a common factor with tragedy: connection. Taking place in a rural, mountainous West Virginia setting, The film gets a cinematic look from director of photography TinNgai Chan. In a world with so much hurt, this shows that there is still positivity trapped inside.
‘It Hunts’
Both fast-paced and slow-moving, “It Hunts” transitions at breakneck speed visually while remaining patient narratively. It’s a stylistic experience, with writer-director Gabriel Hunt utilizing a variety of shooting techniques and lighting sources. This puts you in the shoes of the central character as he snaps in and out of reality. As dreamlike sequences and flashbacks are interwoven, the film becomes more intricate, taking away from the horror but adding to the thematic resonance. Many risks are taken in “It Hunts,” which keeps this genre-bending entry entertaining.
‘After Impact’
“After Impact” may feature the “bang” of an asteroid, but it’s more focused on the quiet hardships of humanity. With an isolated approach to the apocalypse, directors Michiel Rensen and Liam Carter focus on themes of resilience and existentialism. The cinematography makes the most of claustrophobic locations, while also emphasizing the scale of snowy mountain terrains and fire-torched landscapes. It eventually becomes bound by clichés, but remains grounded through the visuals and messaging.
‘The Flesh People’
“The Flesh People” transforms a rundown NYC apartment into an almost otherworldly setting. The mixture of cinematography, production design and score keeps the narrative feeling frantic even when little is actually happening. Because of its commitment to overall weirdness, the bloody outcomes feel earned rather than fabricated. Following a descent into desperation, this bare-bones film is both comedic and chilling.
‘The Deputy’
Centered on an untrustworthy character, “The Deputy” asks the audience to develop confidence in Toby through strange and life-threatening scenarios. Amid the thrilling hand-to-hand fighting, gunfire and car crashes is very real drama and comedy — alongside social commentary. Director Matt Sukkar makes statements about immigration and corruption that fit naturally into the story. While it falls into a stereotypical conclusion, the journey to get there is layered and entertaining.
‘Never After Dark’
“Never After Dark” alienates Airi from other characters in the movie to bring her closer to the audience. After consistently developing the mystery, writer-director Dave Boyle shifts this from a simple haunted house story to something much more complex. While it takes away some of the intrigue, the film remains fresh because of its uniqueness. It’s a genre amalgam that combines elements from “The Shining” and “The Conjuring” into something that is anything but traditional.
