SXSW 2026 Interview: Oliver Bernsen and Peter Falls Break Down the Disturbing World of Bagworm
- Travis Brown
- 2 minutes ago
- 4 min read
When Horror Movies Uncut caught up with Bagworm director Oliver Bernsen and actor Peter Falls, the conversation quickly turned toward the film’s unsettling tone and the creative philosophy behind one of SXSW’s most unusual genre entries.
Set against an urban backdrop far removed from haunted houses and rural folklore, Bagworm follows Carroll, a deeply isolated man whose life slowly unravels as both his physical and psychological state deteriorate. The result is a film that feels grimy, uncomfortable, and intentionally far removed from the polished aesthetic dominating much of modern horror.
For Bernsen, that approach was part of the plan from the beginning.
Embracing Texture Over Polish
While many contemporary horror films lean into sleek visuals and studio-clean cinematography, Bernsen wanted Bagworm to feel raw and tactile.
“I like things that have texture,” Bernsen told Horror Movies Uncut. “There’s a time and place for movies that feel very clean or clinical, but there’s also room for the mucky, disgusting stuff that feels alive.”
That philosophy shaped the film’s entire visual identity.
“This movie was supposed to feel like a festering wound,” Bernsen explained. “And I’ve never seen a festering wound that looked clean.”
The director also cited influences beyond traditional horror, pointing to mid-century Japanese cinema that blended psychological drama, existential themes, and genre storytelling.
Rather than crafting a straightforward body horror film, Bernsen approached Bagworm as something more ambiguous.
“It deals with the horrors of the body,” he said, “but it’s really about a man getting sicker and sicker and what that means.”
Finding Humanity in Carroll
For Peter Falls, portraying Carroll meant stepping into the mind of a character who is often frustrating, self-destructive, and emotionally adrift.
The key challenge was making the character relatable without softening his flaws.
“The biggest challenge was figuring out how to make him human,” Falls said. “He’s not necessarily someone audiences immediately want to root for.”
What ultimately grounded the performance was Carroll's loneliness.
“He’s desperate for connection,” Falls explained. “He wants affection, community, and some sense of belonging. And I think that’s something everyone can understand.”
Bernsen described Carol as a character who exists in a kind of self-made trap.
“He’s put himself in a prison of his own making,” the director said. “The strange thing is that he actually holds the key to getting out of it.”
That contradiction is central to the film.
“There isn’t really a traditional villain,” Bernsen continued. “Carroll is both the protagonist and the antagonist.”
Portraying the Decline
As Bagworm progresses, Carroll's physical and mental condition becomes increasingly difficult to ignore. For Falls, bringing that transformation to life required a careful balance of preparation and instinct.
“Tracking Carroll's illness was actually one of the trickiest parts,” Falls said. “We were shooting out of order, so we had to constantly keep track of where he was physically and emotionally.”
The performance became increasingly physical as the production continued.
“You tap into the coughing, the exhaustion, the discomfort,” Falls explained. “And when you’re deep into the shoot, you start trusting that the character is just there.”
Falls also credited the makeup department and crew for helping shape the transformation.
“When you see yourself in the mirror with the makeup on, it immediately changes how you move and carry yourself,” he said. “It becomes a team effort.”
Horror Outside the Usual Spaces
Another element that stood out during the conversation was the film’s commitment to urban horror.
Instead of gothic castles or isolated forests, Bagworm unfolds within everyday city environments.
That grounded setting creates a very different type of unease.
The horror doesn’t feel distant or mythological. It feels immediate and uncomfortable, as if it could be happening just a few apartments away.
For Bernsen, that sense of realism was an important part of the experience.
Leaving Room for Interpretation
When asked what they hope audiences take away from Bagworm, both Bernsen and Falls emphasized that the film is designed to invite interpretation rather than provide clear answers.
“I’ve had people come out of screenings and tell me what they think the movie means,” Falls said. “And I love that.”
Strong reactions are welcome as well.
“If someone hates the movie, that’s great too,” Falls added with a laugh. “It means they watched it and it made them feel something.”
Bernsen shared a similar outlook.
“I honestly hope people just enjoy it,” he said. “Sometimes you can watch something strange and unsettling without fully understanding why you liked it.”
For the director, that emotional reaction is what matters most.
“If people start thinking about it afterward, that’s great,” Bernsen said. “But even if they don’t, as long as they experienced something while watching it, that’s enough.”
And after witnessing the bizarre and uncomfortable journey of Carroll in Bagworm, many viewers may leave the theater with a strange realization:
Things in their own lives might not seem quite so bad after all.