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Exploitation horror came into its own in the 1970s when low-budget movies delivered thrills by shocking the audience in ways mainstream movies couldn’t get away with. Humans love novelty, so when you show them something they’ve never seen before (especially on a giant screen), they’re likely to remember it and tell their friends. Over time, the subgenre shifted out of theaters and into the rental market: for only a few bucks you could grab the latest exploitation film from Blockbuster and see something insane.
Chat is creator Ole J. Hartmann’s first feature film and seems to be a love letter to the exploitation genre. Like those decades-old movies, Hartmann was also working on a tiny budget — only $25,000. Despite this, he manages to put together a movie that has none of the hallmarks of a low budget affair. The special effects are sickeningly convincing, the action shots are well-choreographed, and even the editing and grading of the movie are high quality. For a first-time filmmaker on a micro-budget, Hartmann has delivered a highly effective horror.
The film follows a family of three after they move to a new house in nowhere Texas. After discovering a tablet in his closet, the son starts talking with an AI named Beelzebul. The AI promises to show the boy something cool, but only if he doesn’t tell his parents. We then watch as family life takes a turn for the worse over the next three days.
Prospective viewers should know that this film is gross. There is one scene in particular (involving a toilet) that will forever stay burned into my eyes and my mind and my soul. Fortunately, Hartmann shows restraint by including only a few such scenes in the movie, so the squeamish can simply avert their eyes for a moment to avoid any lasting psychological damage. What’s striking about Hartmann’s brand of disgusting is that it looks so incredibly real, producing an image that you can practically smell.
For a low-budget feature, the acting is also surprisingly solid. While some side characters are a bit ham-fisted, the main actors convincingly portray their characters. Carter Sirianni, in particular, plays a refreshingly loving husband — one who still flirts with his wife even after years of marriage. I did not go into this film expecting to see any positive role models, yet Sirianni delivers.
One thing I can’t quite make sense of is whether the film wants to be camp. The over-the-top performance of the demon, the exchange between the demon and the grandfather, Hartmann’s entire character (also named Hartmann) — all these strongly signaled camp. Yet some moments in the film that presented perfect opportunities for camp instead opted for a more serious angle. Had the film leaned a bit more campy, it might have better illustrated the chaotic nature of the demon and the ludicrous situation our protagonists found themselves in.
There were a few pacing issues in the middle of the film, but these were minor. It’s clear that Hartmann had a vision for the film and that each shot was deliberately composed. Lighting, props, and audio were all consistent and comparable to movies with much larger budgets. The production quality was, in a word, great. And of course, it wouldn’t be a horror movie if it didn’t have a controversial ending. I won’t spoil it for you here, but I find myself thinking about all the different ways I would have preferred it to end.
Chat is an engaging horror film that makes the most of its small budget to deliver a memorable, disgusting, and frightening experience. I look forward to seeing what Hartmann does next, as it’s clear he has the right instincts when it comes to crafting a compelling story.
Audiences can see the film on Amazon beginning September 4, 2026. Also check out @chatmovieofficial on Instagram to learn more about the film, see exclusive clips, and hear more from director Ole Hartmann.
