When Infamy Becomes the Ultimate Brand

MOVIE REVIEW
Headcase
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Genre: Comedy, Short
Year Released: 2025
Runtime: 16m
Director(s): Spencer Zimmerman
Writer(s): Pat Moonie, Spencer Zimmerman
Cast: Siobhan Connors, Pat Moonie, Gigi Saul Guerrero, Connor Riopel, Nathan Slattery, Stuart James, Kwesi Ameyaw, Ryan Mah, Kelsey Larg
Where to Watch: shown at the 2025 Fantasia Film Festival

RAVING REVIEW: There’s a kind of horror that’s born not from monsters or ghosts, but from the absurdity of our obsessions. HEADCASE doesn’t just see that—it dives into it face first and comes back smiling. In just a handful of minutes, director Spencer Zimmerman delivers a viciously smart short that takes on influencer culture with the kind of unflinching creativity you don’t often see in projects about the world of false idols. It’s funny, unsettling, and bizarre in all the right ways—and the final act transforms the experience into something far bigger than its runtime suggests.

Karen, played with a boldness by Siobhan Connors, isn’t your typical horror protagonist. She’s unapologetically self-absorbed, driven by likes, brand deals, and validation. But what makes HEADCASE more than a surface-level parody is how it lets her spiral without ever succumbing to the realization that she lives in. There’s an awkward sincerity to her journey that makes every moment—from the cringeworthy to the unsettling—land with real importance. The audience isn’t asked to root for her, necessarily, but there’s no turning away either.

Zimmerman’s direction leans hard into that tonal dissonance. The world Karen inhabits is exaggerated and off-kilter, yet always grounded by her all-too-relatable need to be seen. Working alongside cinematographer Gareth Jones and composer Ethan Lawrence, the creative team crafts a surreal atmosphere that’s funny and discomforting in equal measure. The visuals are heightened, the music pulsing with anxiety beneath the comedy, and the pacing is tight without ever feeling rushed. It’s a project that knows exactly what it wants to be—and how to keep you watching.

And yes, it’s goofy. HEADCASE leans into the absurd with no shame and a lot of style. The humor doesn’t rely on punchlines but rather on the stark, deadpan delivery of increasingly extreme situations. It walks a tightrope—too far in one direction and it becomes parody; too far in the other, and it loses its edge. But Zimmerman and his cast strike the right balance. The laughs come from the discomfort, the horror from how familiar it all feels.

That familiarity is part of what makes it so effective. Karen might be a fictional character, but her instincts and behavior feel born out of very real internet culture. You’ve seen versions of Karen online. You might have followed her. The film doesn’t outright judge—it simply presents the consequences of chasing attention without boundaries.

Pat Moonie, who co-wrote the film and appears alongside Connors, plays his role with a strange charm that contrasts with Karen’s increasing chaos. Their dynamic is a key piece of what makes HEADCASE so entertaining. Without giving anything away, their scenes together are the film’s core. It’s the kind of performance that sneaks up on you, staying just on the edge of surreal and sincere.

The production itself is a testament to what can be done under pressure with the right team. Shot and completed in just eight days, HEADCASE feels like the result of far more time and resources. It’s a high-concept film executed with tight control and full commitment. What sets HEADCASE apart is the way it builds up to its final moments. The ending reframes everything that came before without relying on cheap twists. Instead, it closes the loop in a way that’s bold and deeply satisfying. It’s rare for a short film to deliver a payoff this impactful, but when it lands, it lands hard. It recontextualizes the tone, the humor, and especially Karen’s journey, leaving the viewer with something to chew on.

While some may find the absurdity a bit much, or the tone occasionally hard to pin down, that’s also where HEADCASE draws its power. It doesn’t play it safe. It doesn’t apologize for its weirdness. And that refusal to tone things down is exactly why it works. This is a story that explores the uncomfortable corners of culture, allowing the satire to get messy and the commentary to hit where it hurts.

Zimmerman proves himself a director to watch, and HEADCASE functions as both a killer calling card and a disturbing reflection of where we’re at right now. It may wear a smirk, but the ideas under the surface are far more serious. And if you're paying attention, you’ll catch just how sharply it's cutting through the noise.

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