Jessica Rothe’s New Horror Movie Required A Seance After Filming In A House That’s “150% Haunted”

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So, I just heard Jessica Rothe is back in the horror game with a new series called Imposters, and apparently, filming it was actually pretty scary for her – like, genuinely unsettling, which is saying something for a horror movie, right?

Jessica Rothe began her career with smaller roles in popular shows like Gossip Girl and films like La La Land and High Maintenance. She gained widespread recognition as Tree in the horror film Happy Death Day, where her character was stuck in a time loop. Since then, over the past nine years, she’s explored different types of movies, including the Valley Girl remake, the action-comedy Boy Kills World, and the medical drama Pulse.

In his debut as a writer and director, Caleb Phillips presents Imposters, starring Shelley Rothe as Marie. The film follows Marie and her husband, Paul, who are devastated when their baby is taken from their secluded woodland home. Marie discovers a way to get their son back, but upon his return, Paul begins to suspect that something isn’t right – and that the child who came back may not be who they think he is.

Joining Anya Taylor-Joy in Imposters, director Niclas Larsson has brought together a talented cast, including Charlie Bennett (known from Russian Doll) as Paul and Yul Vazquez (Severance) in an intriguing role. The film premiered at SXSW on March 15th and has received mostly positive reviews, with critics especially praising its central mystery and Taylor-Joy’s performance.

To celebrate the film’s premiere at the festival, Ash Crossan from ScreenRant spoke with Jessica Rothe, Yul Vazquez, and Caleb Phillips in our media suite at SXSW about their new movie, Imposters. Rothe mentioned that filming took place in Marlborough, Massachusetts, just outside of Boston, during the fall. The small team enjoyed the beautiful scenery and even brought apple cider donuts to set while filming near the woods.

While the house featured in The Watcher received a lot of positive attention, the house from Imposters wasn’t quite as admired. According to Phillips, it dated back to the 1800s, and Rothe described it as both “really beautiful” and “definitely, 150% haunted.” She remembered strange things happening during filming, and said the crew even tried to spiritually cleanse themselves before they finished shooting.

Jessica Rothe mentioned that the crew may have held a seance near the end of filming, and strange things started happening – like pictures moving. She believes it was a benevolent ghost who approved of their work, and thankfully, no one seems to be experiencing any lasting bad luck… so far.

Vazquez playfully described the set design as wild, and remembered that absolutely nothing was straight – not the doors, not the floors. Phillips agreed, explaining that the crew didn’t use a wheeled camera platform during the entire film because the uneven floors made it too difficult.

Rothe & Vazquez Were Not Ready For The “Wild Directions” That Imposters Goes Down

ScreenRant asked about audience reactions to the movie Drag and wanted to know what kind of responses the creators were hoping for with their new show, Imposters.

I’m expecting the audience to react audibly at two specific points – I think those moments will be so powerful that people won’t be able to help but make a sound.

Jessica Rothe praised Caleb’s work on crafting a really gripping and surprising story. She thinks the movie will have audiences reacting strongly, but also enjoying rewatching it to discover all the hidden details and unexpected turns. She was particularly surprised by the script herself, and credits Caleb and the entire team with skillfully weaving in those layers of complexity.

Caleb Phillips: I think it’s going to be a very different movie the second time around.

The ScreenRant interviewer admitted they had a strong reaction to the movie and acknowledged how difficult it must be for the guests to discuss it without revealing spoilers. They then asked Caleb to give a general description of the film before they started asking questions.

Caleb Phillips described the story as one he’s practiced telling. It’s about a baby who’s returned to his parents under strange circumstances. The mother claims she found him in a magical cave, returning with blood on her face and no memory of what happened. Throughout the movie, the father begins to suspect she’s lying and that the child – or even the woman he thinks is his wife – might not be who they seem.

ScreenRant asked Yul what drew him to the story and script, and what made him want to join the project.

I’d worked with producer Sarah Seligman before, and I also knew Tom Bond. I heard that the director, Caleb, was interested in casting someone from the show Severance.

Caleb Phillips: Yeah, I was like, “Get me the guy from Severance.”

So, a friend, Sarah, mentioned she knew this guy from ‘Severance,’ and she sent me his short film. I checked it out, then read his script, and honestly, I was immediately impressed. I really connected with his perspective and the ideas he was exploring in that short. We had a Zoom call, and I just thought he was fantastic. I knew I wanted to work with him. I’m always looking for fresh talent and love supporting new filmmakers – it’s what really excites me. And he’s genuinely good, the script is really clever. What I loved most was how unpredictable it was. While reading it, I was constantly surprised – I was never able to guess what was coming next, and that’s always a great sign. It’s probably a pretty simple explanation, but that’s really it. I just really dug the whole feel of it, the entire project.

I’ve seen you in so many shows and movies that I’ve always wanted to ask about your experiences on set. Caleb, you saw him in Severance. Was that the show where you thought, ‘That’s the actor I want to work with’? What specifically stood out about his performance?

Caleb Phillips described his character as a complex mentor figure. He felt very comfortable around the actor playing the role, but emphasized that the character himself wasn’t necessarily a ‘good’ person. Phillips was particularly drawn to this contrast – the feeling of safety he experienced alongside the character’s flaws and problematic nature.

ScreenRant: Now Caleb, is this your feature directorial debut?

I’d previously worked as a cinematographer on a small, low-budget film where I was unexpectedly promoted, but this is the first time I’ve both written and directed a feature-length movie – and it’s my first time doing so within the horror genre.

You know, working on this film really made me think about what I want to achieve with my work as a filmmaker. It was a huge learning experience, and it’s definitely shaped my vision for future projects. I’ve come away with a clearer understanding of the kind of stories I want to tell and how I want to tell them. It’s been incredibly clarifying, honestly.

Making this film really helped Caleb Phillips figure out his creative direction. He’d tried making movies he thought he should make before, but was never happy with the results. This time, he focused entirely on what he loved – the styles, themes, and rhythm – even if it meant the pace varied. By the end, he had a clear idea of the kinds of films he wants to create in the future.

I’ve been a fan of yours since Happy Death Day, Jess! I’d honestly follow you anywhere—even to Hell, which seems to be where this movie takes us. Having worked in horror before, I noticed something different in the trailer—those smiles are genuinely unsettling. Can you talk about what this experience was like, and how it differed from your previous roles?

You know, when I get sent a new project, I’m always first looking at the people involved. Are they creative, good people I’d genuinely enjoy working with? That was definitely the case here. But I also look for a challenge – something that scares me a little. This role, Marie, had so many layers, which was fantastic. I was really drawn to her fierce determination and how far she’d go to protect her family – that’s always a really interesting place to start as an actor. Plus, working with Charlie Barnett, my co-star, was just amazing. We clicked immediately. He’s incredibly talented and kind, and we just understood each other as actors, which made the whole experience so much fun.

We were lucky to have such a talented cast, including Caleb, Yul, and Bates, along with our incredible crew. Charlie and I spent a lot of time rehearsing lines and preparing our scenes at home, so we felt comfortable enough on set to be spontaneous and try different approaches. Caleb, along with our cinematographer Allie, gave us a lot of creative freedom. Caleb generally had a vision for each scene, but he also welcomed our ideas and let us experiment. He was very open to our suggestions, even on a tight schedule and with limited resources. We really made the most of everything we had.

Horror movies often deal with dark and intense themes. How do you balance that with moments of levity?

I actually enjoy letting out a lot of emotion – screaming and crying is really freeing for me. But when I’m working, I need to completely focus and can’t really take in new shows or movies unless they’re related to the project. So, to unwind, I go home, take a long hot shower or bath, and watch comforting shows like Parks and Recreation or Friends – it’s a way to reset. My friend Charlie and I used to go to Benihana and enjoy the food and the show of them cooking with fire. I think it’s important to find happiness in those little moments outside of work.

Caleb Phillips and his director of photography, Allie, often watched “Emily in Paris” to unwind. The shoot was really demanding, and their props master, Jen Driscoll, suggested it as a way to switch off and relax. As Caleb put it, it was perfect for mindless viewing while enjoying some snacks. They managed to watch two full seasons of the show during filming.

When there’s downtime on set, I mostly just relax. But when we’re filming something intense or serious, I think it’s important to keep the atmosphere lighthearted. To me, those two things go hand-in-hand. The darker the material, the more important it is to have fun and laugh when we’re not filming. It might sound strange, but I believe we don’t need to be miserable to do good work. We can be okay, have a laugh, and then fully commit to the darkness when the camera is rolling. That’s how I approach it. As for what I actually did during downtime… I think I went to a Raising Cane’s near the hotel!

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

  • The Sun Never Sets Review
  • Brian 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
  • Normal Review
  • Over Your Dead Body Review
  • Sender Review
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2026-03-18 02:17