Newly established Australian independent production banner Filmbar will make its official debut at SXSW 2026 with two films added to its festival lineup, anchored by the world premiere of psychological thriller And Her Body Was Never Found, while also announcing a slate of four titles spanning highbrow horror, serious crime and authoritative drama.
Founded by Tristan Bahr (“Subject,” “Head Count”), longtime collaborator Josh Doak (one of the forces behind the breakout indie hit “Skinamalink”), and producing partner Erin Crittenden (“The Grand Tour,” “Seven Snipers”), Filmbar has established itself as the home of formally original, filmmaker-driven genre films built to travel the world. The company’s mission is focused on bridging festival and commercial audiences at disciplined budget levels, combining bold directors with notable international casts.
“And Her Body Was Never Found,” featured in SXSW’s Vision section for risk-taking artists, is perhaps the most literal embodiment of that philosophy. Inspired by Robert Rodriguez’s self-contained filmmaking ethos, Banks and Cohen wrote, directed, and starred in the film, effectively acting as their own crew, transporting and operating their own equipment from a rented van as they filmed the national parks of Washington State. The script is constructed from a real-life argument between a married couple, reimagined as a cinematic metaphor for the characters caught in a communication spiral as their attempts to reconnect lead to murder. The two financed the film entirely through participation in clinical trials and credit cards.
SXSW also premiered Dead Eyes, director Richard Williams’ visceral horror feature filmed entirely in an expertly designed first-person POV format. The film stars Misha Hayward (Bring Her Back), Anna Tu Nguyen (Mortal Kombat), Stephen Phillips (Bring Her Back), Aleah O’Shea (Sissy), and Charles Cottier (Demon Disorder).
In addition to SXSW, Filmbarr has two more titles in development. Australian fantasy horror Deathkeeper will make its world premiere at Frightfest in March. This upscale genre film, based on a novel, tells the story of an angel who is cursed to grow decades older every time he saves a life, and stars Shuan Hu (Five Blind Dates), Peter Thurnwald (XO, Kitty), Isabella The ensemble cast includes Procida (Rock Island Mysteries), Charles Cottier (Seven Snipers), George Puller (Evil Dead Burn), and Matt Cuffo. (“Danny Darby”). The cast has a combined social media following of over 18 million people, reflecting Filmbar’s strategy of aligning traditional genre storytelling with strong digital reach.
Rounding out is director Amanda Kay’s psychological crime drama Cut Sick, which explores the story of one of Australia’s most notorious female murderers. The project previously participated in the Venice Film Festival’s Biennale College Cinema and is moving into production later this year, signaling the film bar’s expansion into full-scale crime with the prestige of international film festivals. The action feature “Seven Snipers,” starring Tim Roth, Radha Mitchell, Ioan Gruffudd and Ryan Kwanten, is also among the company’s upcoming releases.
“The independent market has tightened significantly, especially around pre-orders,” Barr said. “To compete in a landscape dominated by IP and in-house streamer production, we need to evolve our model. Audiences are always looking for unique, authentic voices and unique cinematic experiences. We’re building Filmbarr around projects where we can push for originality.”
Crittenden added: “Budgets are shrinking, but the tools available to filmmakers are more powerful than ever. Technology is enabling ambitious storytelling at a fraction of the cost of traditional films. The opportunity now lies in empowering filmmakers with bold perspectives and giving them the creative freedom to offer something that hasn’t been on the market before.”
Banks said of ‘And Her Body Wasn’t Found’: “We put everything we had into this movie. Not just money, but all our experiences, secrets, and fears. But we’ve both dreamed of making a movie our whole lives. So is it really worth the risk?”
Cohen added, “We studied the dysfunctions of internal and external communication and learned to accept and trust each other in ways never before thought possible.”
