There’s a new indie horror quietly taking shape — and it’s one that blends pulpy genre tension with something more psychologically personal. Gulf of America has officially wrapped production in Los Angeles, bringing together a cast that spans prestige drama, cult horror, and comedic heavyweights — including Darius Levanté, who continues to build momentum following his work in Lady in the Lake.
Directed by Nicholas Geisler in his feature debut, Gulf of America centers on a family who inherits a decaying desert motel — a premise that quickly spirals into something far more sinister. What begins as a potential lifeline becomes an inescapable descent into greed, psychosis, and terror. The film positions financial anxiety and fractured identity at the core of its horror, suggesting something more layered than a standard haunted property narrative.
The ensemble cast includes Vincent Kartheiser (Mad Men), Natalie Zea (Justified), David Mazouz (Gotham), David Koechner (Anchorman: The Legend of Ron Burgundy), and horror staple Bill Moseley (House of 1000 Corpses). Supporting roles include Jessi Case, Brett Keating, and David Shawtraw.
Indie horror has long been one of the few spaces where emerging and established actors can take creative swings outside of studio formulas. For Levanté, whose recent visibility has placed him in more grounded dramatic terrain, stepping into a psychological horror ensemble signals range — and strategic genre expansion. Horror, particularly at the indie level, often becomes a proving ground for actors willing to lean into character-driven intensity.
Produced by Salt Cellar Films in association with Lucky Springwater Films, Gulf of America does not yet have a release date, but with production wrapped and sales underway, the film enters a marketplace that continues to reward elevated horror with strong word-of-mouth potential.
At a time when genre storytelling increasingly doubles as social reflection, Gulf of America appears poised to explore what happens when survival instincts distort love into something unrecognizable.
And if the filmmakers succeed in balancing psychological tension with supernatural dread, this could be one of those indies that lingers long after the credits roll — the kind audiences debate in parking lots, just as intended.