Quest-en-Scène: Summer 2026 Film Recap

This summer was an excellent time to be a movie lover. I was pleasantly surprised not only by the sheer amount of incredible independent and smaller-scale films that ended up being released, but that so many of them were getting their flowers in record-breaking ways! The success of Obsession and Backrooms was unprecedented, and between that and the highest ever box office numbers in history whilst the Odyssey and Spiderman: Brand New Day were in theaters together, it’s safe to say that movie going is at an all time high. WE’RE SO BACK!! 

In addition to these record-breaking phenomena, here are six slightly less-discussed films I watched this summer and whether or not I think they’re worth your time:

I Love Boosters (dir. Boots Riley)

I was very excited to see I Love Boosters and it did not disappoint! The film is a wacky, absurdist comedy about a gang of shoplifters and is one of the most fun films I’ve seen all year. The film is an excellent critique of capitalism and labor exploitation while also being extremely funny, creative, and beautiful to look at. The costume and production design in this film is gorgeously loud and colorful, making every other recently released film seem drab in comparison. Additionally, the music is incredible, doing an excellent job of enhancing the film’s heightened, cartoonish tone. The only critique that I can think of to give the film is that it has so much to say to the point of feeling a bit overstuffed, but this didn’t negatively impact my viewing experience. In a world of recent films with seemingly no viewpoint or discernable opinions behind them whatsoever, having a film that is so loudly passionate about what it believes in is nothing but positive in my eyes.

Leviticus (dir. Adrian Chiarella)

Leviticus is an indie horror debut film released at a similar time to Obsession and Backrooms that I think deserved the level of attention that those films received. It focuses on two queer boys who undergo a form of conversion therapy that causes a supernatural force to prey on them using the image of the person they’re most attracted to as bait: in this case, each other. I absolutely adored Leviticus! It is a rare modern horror movie that has a strong, well defined message behind it while also not overexplaining itself. Additionally, it was very atmospheric and did a great job at capturing the suffocating feeling of being queer in a rural, religious community. In many ways, it feels like a modern successor to It Follows, a horror movie from 2014 with a similar premise but a messier execution. I’d highly recommend seeing Leviticus; it is one of the best horror movies I’ve seen in recent memory.

The Invite (dir. Olivia Wilde)

I went to go see this film on a whim, and it ended up being my favorite new release of the summer! The film is unassuming at first, focused on a couple having their neighbors over for a dinner party, but it quickly shows itself to be a hilarious and deeply moving film. The screenplay is tightly written, perfectly blending comedy and drama and showcasing an intelligent understanding of modern relationship dynamics and the pain of your life not ending up the way you’d always imagined. The film takes place entirely in one location and deftly uses this to its advantage, creating an at times viscerally uncomfortable and stifling atmosphere that puts the viewer in the same mindset as the characters. The Invite is an absolute must-watch. I began the film laughing hysterically and ended the film in tears, which is one of the best endorsements I can give!

I Want Your Sex (dir. Gregg Araki)

Gregg Araki is perhaps my all-time favorite filmmaker, so when I heard he was releasing his first film in 12 years, it immediately became my most anticipated film of 2026. The film, which centers around an aimless 20-something and the sexual relationship he develops with the avant garde artist he’s employed under, is described by Araki as a rallying cry for Gen Z to “go out and have more sex.” This is a good message, but one that causes the film to feel more and more didactic as the young characters recite unrealistically self-aware monologues about their repression and fears surrounding intimacy that feel straight out of a navel-gazing Substack article. While this was occasionally irritating, the film as a whole was extremely fun. Olivia Wilde was absolutely hilarious and the film looked amazing, having Araki’s signature loud, maximalist, vaguely surreal visuals and production design. While not as audacious as some of his previous work, I think this film could serve as a great introduction to Araki’s oeuvre.

Teenage Sex and Death at Camp Miasma (dir. Jane Schoenbrun)

It is hard to describe this film because it is so incredibly specific and yet also feels like it was designed personally in a lab for me to enjoy. The film follows Kris, an up-and-coming young director who’s hired to make the next entry in the controversial slasher franchise Camp Miasma, as she develops a relationship with the enigmatic actress who played the final girl in the first installment. The film simultaneously exists as a campy metacommentary on the slasher drama à la Scream, while also being a queer romantic drama about accepting and understanding your own desires. Gillian Anderson and Hannah Einbinder both deliver stunning performances as the two leads, having some of the best chemistry I’ve seen in a film in recent memory. Additionally, the film looks incredible: the set design and painted backdrops used throughout are absolutely beautiful. I think everyone should watch this film, but especially if you’re a horror nerd and/or someone with a bad habit of overintellectualizing their own feelings instead of allowing yourself to experience them. I refuse to be held accountable if this film gets brought up in your next therapy session…

Tony (dir. Matt Johnson)

Going into this film, I didn’t know much about Anthony Bourdain, but in the months since my review of Nirvanna The Band The Show The Movie, I’ve grown to deeply love Matt Johnson’s work. He has one of the most interesting creative visions of any current director and I will watch anything he makes. Having said that, I think Tony is easily his weakest film. While Tony is more successful than the average biopic, and choosing to focus on a singular summer in Bourdain’s life rather than the unwieldy sprawl of his entire career was an excellent choice, it still felt rather generic. It was fun, beautifully shot, and Dominic Sessa’s performance as Bourdain was excellent. However, the film was weighed down by the pressure of having to set up Bourdain’s legacy. Additionally, there was a half-baked, deeply cliché romance plotline that did nothing but highlight the screenwriters’ lack of interest in the interiority of the film’s female characters. It’s not a bad film, but not one I expect to revisit.