I have never been an intense fan of the erotic thriller; it just never struck me as something incredibly innovative or interesting. That is, until I bore witness to Anything That Moves, premiering at Fantasia on July 25. Filmmaker Alex Phillips delivers a striking critical blow to the overgrowth of purity in pop culture nowadays with a gnarly, sexy, violent second feature. Sex workers Liam (Hal Baum) and Thea (Jiana Nicole) are caught up in a string of their clients’ murders that test both their relationship and their commitment to their line of work. 

What immediately caught my attention was the impressive cinematography and color by Hunter Zimmy and Dan Stuyck. The film’s giallo-style plot could only be complemented by a bold, saturated frame, and the combination of these two creatives blew me away. The choice by Zimmy to shoot on 16mm film was also highly influential in bringing together the film’s unrelentingly realistic energy. I find it incredibly disappointing that many big-budget studio films nowadays have less creative energy put into their visuals, while films like Anything That Moves choose such distinct, impressive choices with their cinematography. It truly is one of the film’s biggest standouts.

Hal Baum and Jiana Nicole’s chemistry is incredibly believable, and I found myself truly rooting for them to find a way out of their circumstances for much of the film’s runtime. Their relationship is a grounding force that is unapologetically intimate and real, holding the film together even if it strays slightly at times. Baum in particular leads the film with quiet charisma that engages with the audience in a subtle, nuanced way. It was no surprise that the actor had worked with Phillips before on a short film; the two work wonderfully together. This excellent leading cast is rounded out by adult and cult film legends like Ginger Lynn and Nina Hartley, who complement the younger stars as they support the next generation of cult film.

Anything That Moves works similarly to a giallo from the mid-1970s: A parallel plot following both civilians and cops trying to catch the elusive killer. The cops in Phillips’ film are less than competent at their jobs, but they serve an interesting thematic purpose that I found incredibly refreshing. In the age of rising conservative values, these cops represent just how harmful those values are. Yes, sex work is an incredibly taboo topic that is just now being addressed in major films like Anora (2024), but the entire point of Phillips’ film is to discuss the taboo and to demystify intimacy in all of its different forms. From the experiences Liam and Thea have with their clients and with each other, the intimate moments shared seek to explore exactly why we find this so taboo between adults. 

The film juxtaposes the intimacy between Liam and his clients with the grisly murders committed by the killer. Just as the film is sexy, it is also gnarly, with impressive effects by Cyle Williamson that nail the bright red gore of the film’s giallo roots. While a love letter to 1970s adult films, it is also a love letter to cult films from the same era. Its urban fairytale visuals create a dreamlike quality to the film that echoes early Sean Baker.

Anything That Moves is an impressive surprise for Fantasia, exploring the taboo and the idea of intimacy through a psychedelic thriller lens. Its lead performances anchor the film and are complemented by airy, fantastic visuals that rival some of the most successful studio films of the year. Director Phillips is one to watch, who explores exactly what it means to love and be loved in a world that seeks to oppress that love more and more. 

Review Courtesy of Nadia Arain

Feature Image Credit to Fusion Entertainment