‘Where The Hell Is Anna?’ Review – Horror Mixes With Comedy In A Triumphant Directorial Debut [NFF 2026]

“…because the thing about cults, by the time you realize something is wrong, it will already be too late.”

This line in a straightforward horror film about a cult would feel sinister and foreboding. However, in a genre-bending take, it is equal parts hilarious and ominous. This film channels friendship, sisterhood, ritualistic sacrifice, and a satirical swing at cult psychology. A bold, bombastic indie gem, Where The Hell Is Anna? is riotously funny and surprisingly poignant, delivering tight-paced thrills and unexpected chills!

Typically, a film centered on a cult fills us with tremendous dread, so much so that these films are usually a one-and-done for me. I am pleased to report that Where the Hell is Anna? defies the conventional wisdom of this horror subgenre by creating a sharp, witty black comedy that both brilliantly pokes fun and delivers on the more sinister elements. If Midsommar and Bodies Bodies Bodies had a baby, it would be this film. It has all the aesthetics and trappings we associate with the Ari Aster film, but the story keeps us laughing while delivering unique surprises along the way.

Derick (Taylor Dupuis) is estranged from her best friend Anna (Allison Shrum), who has vanished into a women-only retreat in the woods. Determined to reunite with her and break her from what is clearly a cult, she crashes the commune in an effort to bring her home. However, with the Summer Solstice approaching and Anna refusing to leave, the task becomes harder for Derick. With the promise of Summerland and a special ceremony called Induction Day, Anna is preparing for initiation and all the while leaving Derick to wonder if she can rescue her friend before it is too late for both of them.

Lines soon blur. There are questions of brainwashing and healing, and soon Derick uncovers a sinister campaign of lies, blood rituals, and fertility experiments. While rampant laughter throughout the film keeps things from becoming ultra-serious, a dark underpinning still sits at the center of all these types of movies. With a fresh perspective, the film delivers an exquisitely convoluted and deliciously hilarious twist at the end, making this outing in the woods truly memorable.

Where The Hell is Anna? is the creation of Taylor Dupuis, who not only stars in the film but also writes and directs it. First, from a performance level, this is the definition of a breakout performance. She is hilarious as a smart aleck from the audience’s viewpoint. Her running commentary on cults and clichés is refreshing. She brings an unbridled energy that is impossible to ignore. While Anna’s name is in the title, Derick’s narrative force keeps things moving. Her messy background, amid her own heartbreak, fuels an already blazing story that burns even brighter once the past comes to light. Her ability to balance comedy with genuinely horrifying moments makes this a performance to both praise and remember.

The film also looks gorgeous—I mean, the cinematography is more than simple eye candy. Cinematographer Tyler Oaks captures beauty, dread, and the frivolity at the heart of this clever tale. I’m curious about the film’s budget. It looks like a multi-million-dollar studio headliner, and the fact that it’s an indie horror project makes it even more impressive. It shows there is no excuse for a film looking shoddy; with likely little capital, Where the Hell Is Anna? reminds us that creativity isn’t produced simply by the number of zeroes attached to a film’s budget.

From a writing standpoint, the script is smart. It takes what might otherwise be a dire, dour affair and adds a hefty serving of laughs. Dark elements surface, especially as the story goes on, but Where the Hell is Anna? never forgets its central purpose. Amid all the shocks, biting commentary, and traditional horror trappings, this is a story of friendship and an enduring bond of sisterhood. All the while, it cleverly deconstructs the horror subgenre while infusing it with a powerful serving of female empowerment.

Part of the riff stems from Derick’s effort to pull Anna away from the encampment of this woodland retreat. For Anna, there is a subtle, if not persistent, resistance against returning to the outside world. Even when every sign around them screams “Make for the exit!”, the film suggests rescue is often a choice.

This film will surprise many with how much heart it has, though never in a sappy or preachy way. Despite a film traveling through the dark circles of pagan cults, albeit with a comedic twist, it conjures a happy feeling—and that is the last thing I expected from a film with this subject matter.

It is a testament to Dupuis’s script and her direction that this film works on so many levels. And even more impressive is that this is Dupuis’s directorial debut. She deserves to be seen going forward, and Where The Hell Is Anna? is laudatory evidence of her ability to balance comedy and horror. Keep an eye out for her, because with this as her first feature, I eagerly await her follow-up!

Sharp as a knife in both its humor and horror and insightful in its tender moments, Where The Hell Is Anna? may be a directorial debut, yet it has the gravitas and finesse of a seasoned pro, and further reason why indie films deserve as many eyes on them as possible.

Where The Hell Is Anna? had its World Premiere at the 2026 Nashville Film Festival.

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