FANTASIA 2025: ‘Touch Me’ Is Delightfully Quirky

Lured in with the prospect of tentacles, Addison Heinmann’s Touch Me is much more than its tantalizing tidbits. Chasing the thrill of something to keep the anxiety, the self-doubt, and the insecurities away is a fleeting thing. Yet, when swept up in the chase to make all those negative things disappear for something pure, we forget ourselves and the danger we may get into. Throw in some zingy dialogue and throwback cinematic juices, and you have yourself a quirkily hilarious yet insightful time with Touch Me.

Opening with a roughly eight-minute dialogue of Joey (Olivia Taylor Dudley) introducing her therapist (and subsequently, us, the audience) to her ex-narcissistic alien boyfriend, Brian (Lou Taylor Pucci), doubt is immediately planted toward Joey’s character. Who else would be so honest with a therapist about an alien boyfriend? And as Touch Me proceeds onward, her manipulative tactics slowly come to life. 

The subsequent build-up after the therapy session does little to dim the judgment, as we’re introduced to her roommate and semi-friend, Craig (Jordan Gavaris). The relationship between the two is built on a shaky foundation, with both using each other for their own needs. Yet, they can’t quit each other, and how each enables the other’s issues.

Despite its more serious moments, Touch Me never neglects its humor and campier sensibilities.

A literal poopstorm forces them to confront their stasis, but neither is equipped to make the changes they need to move forward. In search of their next high, whether it’s alcohol, nicotine, or whatever, they are barely living. It’s a perfect recipe for disaster when Joey’s ex comes back into her life, and the prospect of her anxieties being taken over with just a touch proves too seductive to resist. However, Brian’s touch comes at a high price. One that may spell doom for everyone around.

Come for the tentacles, but stay for the hilarious dialogue and comedic timing infused in Heinmann’s writing, direction, and performances delivered. The snappy comebacks and general ennui permeating between Joey and Craig make this friendship addictive to watch, even when its foundation leaks sheer codependent toxicity. It helps that Olivia Taylor Dudley and Jordan Gavaris have kinetic chemistry, easily bouncing off of each other when trading witticisms and occasional barbs. 

Equally as addictive is seeing what the strange alien, Brian, is going to do next onscreen. Once the cast moves to the isolated compound located in the valley, things get a little weird. Based on Joey’s description of this guy in Touch Me’s opening monologue, he should be a complete monster. Yet, by casting Lou Taylor Pucci in all of his doe-eyed goodness (and who plays the character earnestly and openly), what preconceived notions we might have of the character are almost tossed to the side. Almost. 

Incredible editing and visual choices pay heartfelt homage to Japanese and classic silent era cinema.

Heinmann wastes no time in doing away with the song-and-dance guessing game surrounding Brian’s actual identity and intentions. The more overt horror elements of Touch Me manifest in glorious monstrosities and a psychedelic combo of editing and lighting tricks to muddy the senses. Sensuality and gore collide, with blood bursts and reproductive icks surfacing to make one squirm. However, true to the overall tone and vibe of the film, the horror never overpowers the humor, and that makes this horror-comedy a joy.

Horror-comedies are a tricky bag in finding the right balance, particularly when dealing with individual viewer preferences. Central to the success of Touch Me is how it never leaves behind its humor and camp, with the direction of the horror enhancing the comedy further in oh-so-satisfying ways. And above all, the film wears its Japanese cinematic influence on its sleeve, with certain edited moments making Hausu come to mind in terms of energy. 

While Touch Me might not be for everyone, it leaves its mark.

The love for Japanese cinema and the silent movie era is apparent throughout Touch Me. From Craig’s attempts to master the random sentences Duolingo pops out to visual edits like the three-part splitscreen effect and the dialogue cards often seen in silent films, Heinmann’s love for these cinematic influences is felt throughout. This love never overwhelms and, instead, adds to the overall zany feeling the film has. 

This is all to say, Touch Me definitely won’t be for everyone, especially with its particular brand of humor. However, this fun, quirky film uses its absurdity to explore its more serious subjects without distraction. Amidst the laughter and the tentacle-driven moments onscreen is something heartfelt and a little broken, making this a surprisingly deep experience. 

Touch Me played as part of the 2025 Fantasia Film Festival. Touch Me is now playing in limited theaters.