The title alone – “Drag” – is a deliberate misdirection. Writer-directors Raviv Ullman and Greg Yagolnitzer’s debut feature, which premiered at SXSW on March 13, 2026, isn’t a commentary on drag culture, but rather a darkly comedic thriller centered around a botched robbery and a rapidly escalating series of unfortunate events. The film, starring Lizzy Caplan and Lucy DeVito, takes its name from the literal act of dragging and the object being dragged is, unexpectedly, a woman.
Despite the premise involving criminal activity, the filmmakers are quick to establish that “Drag” steers clear of sensationalism. Grievous bodily harm, nonconsensual drugging, and murder are all present, but the film notably avoids any “unwholesome” elements, as one critic wryly observed. The 86-minute film, produced by Jersey Films 2nd Avenue, balances tension and edgy humor, suggesting a strong opening weekend for the Midnighter selection at SXSW.
At its core, “Drag” is a story about familial dysfunction. Caplan and DeVito play unnamed sisters – identified in the end credits simply as “Fuckup” and “Sister” – whose strained relationship is put to the ultimate test during a house robbery gone wrong. The “Fuckup” sister, a bartender with a precarious lifestyle, enlists her more responsible sibling as a driver for a break-in targeting “some guy who owes me money.”
The initial stages of the robbery are surprisingly smooth, with the target house appearing isolated and lacking a security system. However, things quickly devolve when “Fuckup” suffers a back injury while attempting to steal from an upstairs jacuzzi. Forced to investigate, “Sister” discovers her injured sibling and attempts to move her, inadvertently worsening the injury. This sets off a chain reaction of escalating misfortunes, culminating in the arrival of the homeowner, John Stamos, a successful painter of abstract female portraits, and his date, Christine Ko.
As the situation spirals out of control, it becomes clear that the house holds a dark secret. “He’s roofied a girl or something!” exclaims “Sister” at a critical moment, revealing that several women have entered the house, and their fates remain unknown. The two sisters, along with the unsuspecting Ko, must now navigate a dangerous situation, attempting to rescue themselves while keeping their presence hidden from Stamos.
Sibling Rivalry and Suspenseful Chaos
The dynamic between Caplan and DeVito is a key element of the film’s success. Their constant bickering, rooted in years of familial conflict, provides a comedic counterpoint to the increasingly tense situation. The script, while focused on the crisis, allows their squabbling to function as background noise rather than a dominant distraction. Caplan effectively portrays the physical discomfort of her character, leaning into slapstick humor, while DeVito balances exasperation with a reluctant loyalty. Christine Ko, known for her role in the FX sitcom “Dave,” delivers a funny performance as a flirtatious and oblivious guest.
John Stamos, cast against type, reportedly has “fun slyly underplaying a thoroughly depraved character.” While his performance is generally praised, some critics suggest he’s allowed to become “a little too cute” when his character’s true nature is revealed. The film’s soundtrack features vintage cuts by Bonzo Dog Band, a 1960s British novelty act, which some find to be an overindulgence in calculated wackiness. In contrast, Patrick Stump’s original score provides a more straightforward suspenseful atmosphere.
Visual Style and Production Details
Cinematographer Ben Goodman employs sharp lensing and overhead shots to emphasize Caplan’s physical vulnerability. Production designer Neil Patel has created a visually striking setting, with the paintings attributed to Stamos’ character actually daubed by co-director Yagolnitzer. The film’s denouement may prove divisive, with some viewers finding it unnecessarily cruel, but the filmmakers remain committed to their vision of gallows humor.
“Drag” is a resourceful and entertaining thriller that doesn’t shy away from dark subject matter. The film, which began principal photography in March 2025, demonstrates a strong directorial debut from Ullman and Yagolnitzer, and showcases compelling performances from its cast.
As “Drag” moves beyond its SXSW premiere, its success will likely hinge on its ability to find an audience receptive to its blend of dark comedy, suspense, and unconventional character dynamics. The film’s unique premise and strong performances suggest it has the potential to resonate with genre fans looking for something a little different.
What comes next for the filmmakers and cast remains to be seen, but “Drag” has undoubtedly established them as talents to watch. Share your thoughts on the film in the comments below!
