Fantasia Fest 2026: Corpus Review

Directed by: Corrin Evans
Written by: Corrin Evans & Lily Cowles

Starring:
Jeff Wahlberg – Sayo
Brodie Townsend – Vince
Michael Vlamis – Ross
Lily Cowles – Billie
Nuha Jes Izman – Wren
Ching Valdes-Aran – Cata
Soap Collins – Sherry
Sydney Taylor – Cherry

Running Time: 102 minutes
Not Rated

There are few things more horrifying on a personal and emotional level than the inability to let go of love. Like anything else, it has its dark side, and there are times when we have to walk away from something we care about for our own well-being. However, that’s not always an easy thing to do. And when we can’t, it can fester into something much darker.

Those places in the heart and mind are prime breeding ground for horror; there’s a reason why Obsession is the horror sensation of the year. Corrin Evans’ Corpus is a different side of that coin, though no less potent. The queer horror-thriller, which had its world premiere at Fantasia International Film Festival, finds its power in uncomfortable moments and unhealthy fixations even before things take a turn toward the supernatural.

Set in the heat of June 1998 in New York City, Corpus initially opens a year earlier as a young woman (Nuha Jes Izman) sits for an after-hours photo shoot that turns disturbing, predatory, and likely dangerous. A year later, we find Sayo (Jeff Wahlberg) trying to get by as a photographer who dabbles in selling drugs to make ends meet and hangs out with his party-obsessed buddy Ross (Michael Vlamis).

Sayo also tries (and fails) not to pine over his crush and former friend-slash-situationship Vince (Brodie Townsend). Vince’s acting career is on the rise and seeing the man he clearly can’t get over on the cover of magazines has Sayo in bit of a funk.

Things get complicated for Sayo when Vince returns to his orbit and invites both him and Ross out to a party hosted by his new photographer Billie (Lily Cowles). Sayo reluctantly agrees, and the three head out to an isolated and rundown country estate where they meet Billie, her partner Cata (Ching Valdes-Aran), and Wren, the young woman from the opening scene who is now looking distinctly less innocent with a freshly slaughtered chicken in her hands.

It’s enough to get Sayo’s hackles up, but his feelings for Vince keep him from doing the smart thing and running away. As the night gets weirder, it becomes clear that there’s something more at play than a networking opportunity and the women may have designs on them for something much more seductive and dangerous.

Corpus was co-written by Evans & Lily Cowles and, at its core, is exploring the dark places that love can take someone. The spider’s web of relationships between the characters is laced with negative emotions — guilt, resentment, fear, codependency, and the dark sides of desire. Evans and Cowles make ample use of those dangerous impulses in crafting the script. The authenticity of these relationships provides a stable grounding so that the narrative doesn’t fly off the handle when the horror elements come into play.

That puts the onus on the performers, and they’re more than up to the task. Wahlberg and Townsend have the most to explore and as toxic as their fractured relationship is, it never comes off as false nor do the characters. Wahlberg gives us a portrait of a man who can’t let go of his crush, and Townsend makes us understand why that might be the case. It isn’t healthy, but that doesn’t make it any less alluring for the characters.

When it comes to the horror elements, Evans uses a careful touch as she lets things unfold. It’s clear from that opening scene with Wren that something very wrong is going on, but nothing can quite compare to what ends up being the case. The crumbling country estate in the middle of nowhere gives folk horror vibes — it’s not a coincidence that the film is set at Midsummer — with something wholly different and uniquely formed at the center. Evans slowly turns the tension up until a big reveal, at which point it is game on.

The time period echoes strongly through the film. The 1990s were an anxious time, particularly if you were a queer person. We were on the verge of greater acceptance and AIDS crisis was just starting to trend down, but no one was out of the woods yet. Distrust was still strong and when you found your person, you had to hold on tightly. The refusal to let go is threaded through the narrative and the time period speaks to that, amplified by a stellar soundtrack and several stylistic flairs that make the film feel a bit like a time capsule and while not feeling dated.

In addition to her writing and directing work, Evans has an extensive resume as an intimacy coordinator. She understands how to make a scene sexy without losing its emotional impact or coming off as gratuitous, a knowledge put to great use here. Sensuality permeates nearly every frame of the film, but it’s not hotness for the sake of being hot. Corpus is an exploration of bodies and identity, of desire and the dark places you go when the need to hold on to what’s yours crosses boundaries. It may be a little esoteric for some, but the power of its dark truth is impossible to deny.

Fantasia International Film Festival takes place in Montreal, Quebec from July 16th through August 2nd.

8.5

The final score: review Very Good

The 411

Corrin Evans' Corpus is a seductive and effective treatise on the dark side of desire and love given a 1990s sheen. Its characters are well-written and buoyed by strong performances, particularly from Jeff Wahlberg and Brodie Townsend, while Evans and Lily Cowles' script weaves in just enough horror to sharpen the themes. It's not for people who aren't interested in slow-burn horror, but a little patience with it leads to an experience that won't soon leave you.