‘River’ Review - Joshua Giuliano’s Relentless Debut Effort Is A Masterclass In Slasher Tension [TIFF 2026]
The slasher genre welcomes a new force with River, a unique project that refuses to take its foot off the gas pedal.
2026 is quite the year for feature directorial horror debuts. From Ian Tuason’s Undertone, Kane Parsons’ Backrooms, and content creator turned TIFF alum Curry Barker’s unfathomable success Obsession, this year has seemingly kickstarted multiple careers within the genre. Following this trend is established short film creator Joshua Giuliano with his feature debut River, made in partnership with Shudder and IFC. Loosely based on his award-winning short In Sound, We All Live Forever, the film tells the story of three siblings whose boat ride is overtaken by a family of killers. The film had its world premiere as part of TIFF’s Midnight Madness program, serving as the opening night film to a slate that, just last year, introduced Obsession to the world.
Jane Levy (Evil Dead), Jessica Rothe (Happy Death Day), and Max Mattern star as siblings who embark on a river journey to honor their late father just outside their childhood home. Its premise is quite the simple one for a slasher, in which characters are introduced with a set dynamic and relationship, allowing for real stakes when peril emerges. Their dynamic is played brilliantly by all three actors, with a palpable, naturalistic feel to their familial bond. In the slasher genre, character dynamics can often feel tacked on, serving only as a means to inevitable doom. In River’s case, their relationship is the center of the film, giving real stakes and emotion to moments of peril. Director Joshua Giuliano told FilmSpeak that their sibling connection stems from his own experience as a brother, and that reality is felt throughout. On the other end of the film is Dane DiLiegro as the film’s larger-than-life killer. Having played the Predator in 2022’s Prey, DiLiegro is no stranger to the intense physicality of a horror antagonist, and plays the mostly faceless role with incredible finesse. His role can be thin at times, and isn’t exactly reinventing the wheel with its writing, but DiLiegro truly shines with his raw and menacing presence.
From the film’s opening scene, filmmaker Joshua Giuliano is signaling to audiences that they’re in for something incredibly unique. Mirroring the short film it is based on, the introduction shows us the aftermath of a vicious attack, accompanied by the audio of the events that transpired. This sequence is the first of many that showcase what this film does best: suspense. Although generic in its execution at times, the film’s first two acts are unrelenting, presenting constant narrative doom and leaving audiences without a moment to breathe. The drivers behind this constant tension, however, start to pump the brakes when the film enters its third act and our characters leave the titular river. Every scene on the river itself is unpredictable, with many of the antagonizing forces shrouded in darkness beyond the shore, leaving audiences with a palpable fear of the unknown. When the film leaves that setting, tension is compromised. Not many horror films are placed within such unique settings, and I would have hoped to see more of the premise fulfilled.
Aesthetically, River sets itself apart from a lot of modern slashers with a striking color grade and remarkable eye for shot composition. It was shot beautifully by Nick Matthews (Saw X), whose previous work in horror really shows. During the river sequences, deep shadows accompany a general moody atmosphere, creating a stark visual contrast between our subjects and the environment. A subsequent sequence involving a flare gun really highlights Matthews’ visual expertise, as deep reds wash over the screen to signify impending doom. On top of this, the film’s production design made spaces feel raw and lived-in, such as the siblings’ childhood home, giving the story a fairly human edge.
With River, director Joshua Giuliano cements himself as a force to be reckoned with in the horror space. With a mix of raw performances, striking visuals, and constant peril, the film is sure to satisfy even the most hardcore genre fans. Out of its premiere at TIFF, the film was acquired for distribution by Blumhouse Atomic Monster for north of $10 million, making it the largest acquisition at the festival this year despite not being for sale (the film was slated for distribution with Shudder and IFC). No release date is known just yet, but this is not one to miss.