How Fear Street Star’s New Body Horror Movie Is The Culmination Of Their 10-Year Friendship With Ugly Cry Director & Co-Star

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Ryan Simpkins is back in the horror film world with Ugly Cry, a movie generating a lot of excitement at SXSW, and there’s a heartwarming story behind their decision to join the project.

Emily Robinson, known for her work in Eighth Grade, wrote, directed, produced, and stars in a new body horror film. The movie centers on Delaney, an actress who, after her boyfriend leaves to film a big zombie movie, pursues a role she really wants. When a producer tells her she has an unattractive cry, she becomes fixated on changing it, leading her down a disturbing path where she grapples with the pressures of fame and her own personal struggles.

The film boasts a strong cast including Aaron Dominguez from Only Murders in the Building, Robin Tunney of The Mentalist, Andrew Leeds from Ghosts, and Josh Ruben, known for Heart Eyes. They join Robinson and Simpkins, the latter of whom, like his brother, is working in the horror genre with the Fear Street trilogy and The Exorcism starring Russell Crowe. Ugly Cry premiered at SXSW on March 12th to very positive reviews, praised for its thought-provoking themes and disturbing imagery.

To celebrate the film’s premiere, Ash Crossan from ScreenRant spoke with Emily Robinson, Ryan Simpkins, Aaron Dominguez, and Robin Tunney at SXSW about their movie, Ugly Cry. Ryan Simpkins revealed that she and Emily Robinson have been friends for a decade, having first met at a Sundance Lab when they were in high school and quickly becoming close.

What really connected them while working on Ugly Cry was their ability to openly discuss the challenges of the film industry with each other – a central theme of the movie and reflected in their characters. Simpkins remembered Robinson had been passionately trying to make this film for years, determined to tell the story even with limited resources, which resulted in some scenes being largely made up on the spot.

I remember Ryan Simpkins and I used to just hang out at her place, making up scenes as we went along. I think that’s when I really started to believe we could actually make something with all that improvising. I got hooked on the idea, and thankfully, Emily – who was involved – kept me on board as things started to develop into a real project.

So, I heard from Dominguez that Robinson had a connection with his manager already, which is how the script landed on his desk. He apparently thought it was fantastic! Then he met Emily, who wrote, directed, produced, and starred in the film, and offered him the role. Getting to work with her on set was amazing – she really flowed between all her different responsibilities so effortlessly. It was incredible watching her wear all those hats and just nail it.

The Ugly Cry Team Hope To Inspire Other Female Filmmakers

ScreenRant asked what kind of reaction the filmmakers were hoping for from viewers, and what they learned from watching the film with an audience.

It was really rewarding to finally share my film with an audience. I’d spent so much time alone, reviewing it over and over, so seeing people react – laughing, cringing, and connecting with the story – was a fantastic experience.

ScreenRant: So, what is the background of this story?

I basically grew up around this world, and I’ve been thinking a lot about how we see bodies and gender, especially online. It seems like we often end up objectifying ourselves and creating unnecessary competition with each other. The pandemic really highlighted this for me – it showed how easy it is to become even more isolated, particularly with the internet constantly around us. I wanted to write a story that really explored unrealistic beauty standards and this habit of comparing ourselves to others, making it feel both familiar and a bit over-the-top.

ScreenRant expressed their admiration for the director, calling them a legend, and then asked what specifically attracted them to Emily as a director and what sets her work apart.

I immediately connected with Emily’s vision because I saw the person I hoped to become – a woman with creative control. Growing up, I didn’t have any female role models showing me that kind of independence. It’s similar to what a friend told me – she wanted to study filmmaking but chose photography because she didn’t think directing was an option. Now, with filmmakers like Chloé Zhao, that’s changing. Seeing what Emily accomplished will inspire other actresses to create their own roles and stories, rather than waiting for permission or accepting limited parts. I wanted to support her and help create a world where young women know their stories matter and are worthy of being told. No one did that for me when I was starting out. When a friend of Emily’s, Amanda Kramer, sent me the script, I read it right away because I knew Emily was likely under a lot of pressure. But she wasn’t! I could tell she was on track to do something special. The set was incredibly supportive – everyone was dedicated to helping Emily realize her vision. It wasn’t just about the film industry, either. The film explores the damaging effects of social media, unrealistic beauty standards, and filters on women and girls, and I think that’s a really important conversation to have.

ScreenRant asked what I discovered about myself as a filmmaker during this process, and what types of movies I’m now interested in creating.

I’ve been doing a lot of thinking about the kinds of projects I want to direct – both things I’ll be acting in and things I won’t. It’s going to be varied work, leaning towards films that blend genres and delve into darker themes, and I definitely want to explore body horror and dramedies more. Ultimately, I’m interested in telling stories that exist in a lot of different emotional spaces. What really draws me in is portraying women who are at a turning point in their lives, and examining the body in all its complexity. That could take many forms, but I’m particularly fascinated by depicting strong, untamed female characters.

Robin Tunney feels like it’s a really exciting moment for film. Growing up, she and other women watched movies created by men, which often reinforced traditional gender roles. Now, with young filmmakers like Emily and Eva Victor, and directors like Greta Gerwig, women are finally telling their own stories authentically. This is important because it’s shaping a new generation, allowing young women to see themselves represented in ways that aren’t about objectification. Tunney expresses frustration with repeatedly playing roles that involve being victimized and wants to focus on projects where women are in control of their narratives. She believes this shift is culturally significant.

Be sure to dive into some of ScreenRant‘s other SXSW coverage with:

  • The Sun Never Sets Review
  • The Fox Review
  • I Love Boosters Review
  • Dead Eyes Review
  • One Another Review
  • Kill Me Review
  • Ready or Not 2: Here I Come Review
  • The Saviors Review
  • Family Movie Review
  • Power Ballad Review
  • Seekers of Infinite Love Review
  • Mike & Nick & Nick & Alice Review
  • Over Your Dead Body Review
  • Sender Review
  • Normal Review
  • Brian Review
  • Phoenix Jones: The Rise and Fall of a Real Life Superhero Review
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  • Sydney Chandler sharing her ideal Alien: Earth season 2 story for Wendy and the Lost Boys as production ramps up
  • Robin Tunney weighing in on a Mentalist revival after its Netflix resurgence
  • Yul Vazquez explaining why he has yet to return to Severance
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  • The AI Doc: Or How I Became An Apocaloptimist team breaking down just how extensive their research was
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  • BenDavid Grabinski and the Mike & Nick & Nick & Alice cast on how the sci-fi action comedy is like two movies in one
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2026-03-21 00:46