Delivering new opportunities for independent filmmakers, Letterboxd has launched an initiative granting a one-month rental window for select, previously undistributed festival films. This move is designed to help projects like the new Stephen King inspired horror film, “It Ends,” bypass traditional distribution challenges, giving creators and their audiences a platform unavailable through standard VOD services. With this strategy, Letterboxd brings films that only festival attendees had seen directly to a broader audience, seeking to bridge the gap between filmmakers and genre fans worldwide.
Independent filmmaking faces numerous hurdles, from production through to distribution, as self-made creators often struggle to present their work publicly without support from studios or financiers. Even projects that receive positive festival receptions can languish without the right distribution partner. Letterboxd’s novel approach provides a targeted solution, focusing exclusively on festival favorites that have not previously reached home viewers, aiming to elevate notable indie genre films and their creators to new heights.
“It Ends”: A Unique Take on Cosmic Horror and Friendship
Among the debut offerings is “It Ends,” an original horror project that harmoniously fuses elements reminiscent of Stephen King’s mind-bending suspense with John Carpenter’s atmospheric dread. The film stands out not only for its inventive premise but by relying on a cast comprised entirely of talented newcomers, such as Mitchell Cole, Phinehas Yoon, Akira Jackson, and Noah Toth. With minimal resources, writer-director Alexander Ullom’s filmmaking debut demonstrates that compelling, terrifying stories can emerge from passion and creativity rather than large budgets or celebrity backing.
The story trails recent high school graduates—Tyler, James, Day, and Fisher—through one final, late-night drive together. Their ordinary farewell turns ominous when they are caught in a surreal, unending highway, facing cosmic threats that force continuous movement or risk dire consequences. The only choice is to keep driving, hoping for escape as menacing forces close in. Ullom crafts a narrative that invites viewers to unravel the film’s mysteries alongside its characters; details are revealed through direct experience rather than exposition, deepening emotional engagement for the audience. While “It Ends” presents moments of harsh, visceral terror, it also exemplifies the horror genre’s potential to invoke fear by withholding as much as by showing.
Pressure builds relentlessly as the teens scramble for survival, their relationships gradually fracturing under the strain. Each character grapples with the loss of innocence and the realization that their dreamed-of futures may be forever denied. It’s the gradual dissolution of these friendships—more so than the supernatural threats—that ultimately becomes the film’s most haunting aspect, challenging audiences to consider how trauma can reshape bonds and individual resolve. The film prompts viewers to ponder the endurance of camaraderie when tested by relentless adversity, and how witnessing loved ones lose hope can be among the most painful experiences.
“We want to go back to the woods!”
Examining Deeper Questions of Faith, Sacrifice, and Identity
“It Ends” probes themes of faith and existential purpose, weaving these into its nightmarish scenario as characters debate whether self-sacrifice could offer freedom or simply hasten a grim transformation into lifeless versions of themselves. Encounters with mysterious travelers, seemingly trapped by the same condemnation, tease unsettling hints about potential fates and social isolation. The film touches on the ethics of hope and deception: is it better to inspire belief under false premises if it means survival, or does truth matter most when enduring the unfathomable?
Such dilemmas resonate with audiences far beyond the surface scares. For many, the film’s ambiguous conclusions and thought-provoking character choices invite intense discussion about what one would do faced with similar threats—cosmic or otherwise. Through its depiction of youth burdened by adult decisions, Ullom’s narrative achieves broad relatability, drawing viewers of multiple generations into its emotional orbit. The story engages with universal uncertainties about purpose and perseverance, making its horror all the more immersive.
Potential for Breakout Success and a New Era at Letterboxd
The combination of smart horror storytelling, original ethical questions, and relatable young characters positions “It Ends” as a likely topic of discussion within both traditional horror fan circles and wider audiences attracted to festival fare. Writer/director Alexander Ullom is introduced as a significant new voice in horror, demonstrating flair in both narrative restraint and character complexity. This aligns with trends of genre films achieving prominence after strong word-of-mouth at festivals, suggesting “It Ends” could become a breakout digital success, especially as it receives more exposure outside the festival circuit.
The reach and effect of Letterboxd’s new rental platform are yet to be fully realized; however, these exclusive streaming windows could spur further interest from studios or larger VOD distributors, ultimately serving to accelerate promising filmmakers’ careers. For now, “It Ends” offers a prime example of bold, propulsive storytelling fueled by vision rather than resources—showcasing that the horror genre remains fertile ground for innovation and emotional resonance.
Viewers interested in this distinctive Stephen King inspired horror film can now rent “It Ends” through the Letterboxd Video Store, marking a significant new chapter for both its emerging cast—Mitchell Cole, Phinehas Yoon, Akira Jackson, and Noah Toth—and for director Alexander Ullom’s filmmaking debut. As audiences continue to seek fresh voices and unique perspectives in horror, Letterboxd’s experiment holds the promise of connecting undiscovered gems with appreciative viewers around the world.
