Grief, Guts, and a Ghost That Lingers

Read Time:4 Minute, 53 Second

MOVIE REVIEW
Stomach It
–

Genre: Horror, Psychological Thriller
Year Released: 2024, 2025
Runtime: 13m
Director(s): Peter Klausner
Writer(s): Peter Klausner
Cast: Jon Lee Richardson
Where to Watch: shown at the Comic-Con International Independent Film Festival 2025

RAVING REVIEW: STOMACH IT certainly doesn’t lack conviction. In just 13 minutes, writer-director Peter Klausner attempts to unpack grief, trauma, and emotional detachment through the lens of psychological and body horror. While the shorts’ atmosphere and concept are commendable, the result doesn’t always hit with the force or clarity it aims for. That said, there’s enough style and sincerity behind the camera to keep it engaging, even when it doesn’t quite land (for me).

At the center of the story is Joel, a crime scene cleaner played by Jon Lee Richardson, who begins to unravel emotionally as his professional detachment wears thin. Instead of clearing spaces touched by tragedy, Joel lingers on personal items, memories he never knew, and eventually on the idea that something sinister might be ever-present. The premise is strong, built around a character caught between the living and the dead, unable to shake the emotional residue of his job fully.

Richardson gives a thoughtful, internalized performance that feels well-suited for the minimalist narrative. He’s the only character onscreen, carrying the entire short with a weary intensity. His expressive physicality becomes a crucial storytelling tool, especially given the film’s sparse use of dialogue. It’s a smart casting decision, and Richardson does enough to keep viewers invested in Joel’s emotional and physical decline.

Klausner’s direction leans heavily into atmosphere, aided by Emily Tapanes’ cinematography, which mixes unique but grounded interiors with stylistic flourishes—the color palette shifts from muted to unhealthy (I’m still not sure that’s the right word), echoing the protagonist’s growing unease. Scenes are often framed in tight, claustrophobic shots that create a real sense of entrapment. The mood is consistently grim, occasionally unnerving, and supported by effective practical effects that nod to old-school horror sensibilities. There’s a distinct visual identity at work for such a brief runtime.

Where STOMACH IT begins to lose its grip is in its depth. The short plays almost like a vignette—a snapshot of a man’s spiral rather than a fully developed narrative arc. There’s little in the way of background or context for Joel, which may be intentional to preserve ambiguity, but it ends up creating emotional distance. We understand the general theme—how trauma accumulates, how emotional repression festers—but the execution feels more like a gesture than a journey. The stakes are more symbolic than tangible, which can work in horror, but something’s missing here. This feels like an intentional part of a bigger picture.

The film also plays into the body horror genre, using Joel’s physical discomfort as a metaphor for his internal decay. It’s a natural genre pairing, but the grotesque elements feel somewhat underused. There are glimpses of something visceral and unsettling, but they’re fleeting—never quite building to a real crescendo. This choice may appeal to viewers who appreciate restraint, but those expecting a more confrontational use of the subgenre may find the experience held back.

Klausner has a vision and an understanding of tone. He trusts his audience to pick up on visual cues rather than spelling things out with exposition, which is refreshing. The choice to keep the story stripped down and dialogue light speaks to a filmmaker who believes in cinematic language over-explanation.

From a technical perspective, the film shows polish. The editing is tight, the sound design is eerie in all the right places, and the practical effects—while limited—contribute meaningfully to the atmosphere. There’s also a clear passion for the genre. Klausner has stated that horror is his way of confronting personal fears, and sincerity bleeds through in the film’s construction. This isn’t a short that feels like it was made to sensationalize; it’s aiming for emotional resonance.

STOMACH IT is a short that reaches for something deeper and more affecting than your average horror vignette. It’s made with care, from its central performance to its visual design, but it feels like a sketch of a larger idea rather than a fully satisfying standalone piece. There’s enough to pull yourself into fully. A promising concept with compelling visuals and a strong lead performance, STOMACH IT offers an intriguing meditation on trauma and repression.

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[photo courtesy of ISOTRE]

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