Filmmaker Addison Heimann and the Cast of ‘Touch Me’ [Sundance 2025 Interview]

Sundance
Photo courtesy of Rustic Films

Addison Heimann refuses to play it safe. With Touch Me, his sophomore feature premiering in Sundance’s Midnight section, he’s conjured himself up a tragicomic queer fantasia sure to raise a few eyebrows. “You never expect to get into Sundance,” Heimann reflects, describing the moment he learned of the film’s acceptance. “It feels like a dream you don’t dare say out loud.” But Heimann, whose work is brimming with originality to the point of oppressive weirdness, is not an artist destined to go unnoticed.

His film follows two codependent best friends (Olivia Taylor Dudley and Jordan Gavaris) whose lives are upended by the heroin-like touch of an alien narcissist. Equal parts absurdist sci-fi, dark comedy, and breakdown confessional, Touch Me explores anxiety, trauma, and addiction with impressive ingenuity and inarguable chutzpah. Heimann describes the film as his way of confronting his mental health journey. “I wanted it to be zapped away forever,” he says, relatably, of his struggles with OCD and anxiety. “But the sad reality is, that’s just heroin, Xanax, or alcohol—it’s a temporary fix. And I wanted to explore that.”

Headshot courtesy of Sundance Film Festival

Heimann’s outlandish script is brought to life by a stellar ensemble cast whose chemistry grounds the film’s outrageous neon signage. Olivia Taylor Dudley, who plays Joey, describes reading the script as an instant connection. “I was laughing out loud during the first ten pages,” she recalls. “But then I realized I was talking the entire time, and I panicked.” Dudley’s dyslexia made the lengthy opening scene’s monologue a daunting challenge, but Heimann’s faith in her allowed her to flourish. “Addison trusted me completely, and that gave me the confidence to go for it.” Her performance in the opening scene, captured in a single take, is a testament to her ability to channel vulnerability and strength simultaneously. It’s one of the greatest moments at the entire festival this year. 

Jordan Gavaris, best known for Orphan Black, plays Craig, a man whose avoidance of adulthood feels all too relatable. “Craig is so avoidant he can’t even make a phone call,” Gavaris says, laughing. We’re all aware of the generational phobia of speaking on the phone. One that seems to be getting even more distinct from the younger generations.  “But what makes Addison’s writing so special is that even in these extreme situations, the characters feel deeply human,” he added. Gavaris, a lifelong sci-fi and horror fan, credits the film’s authenticity to Heimann’s ability to balance the absurd with the personal.

As the alien Brian, Lou Taylor Pucci brings a mix of menace and charisma to the role. Inspired by icons like Gene Wilder and Tim Curry, Pucci embraced the character’s theatricality. “Brian needed to be more sinister-looking, and that let me lean into his complexities,” Pucci says. His transformation extended to breakdancing—a skill he honed through rigorous training for the film. “I was terrified, but the choreography was so freeing once it clicked,” he said.

Veteran actress Marlene Forte rounds out the cast with her performance as Laura, a character who subverts traditional maternal roles through sex and violence. “Addison’s scripts scare me,” Forte admits. “But that’s why I’m drawn to them—they push me to places I didn’t know I could go.” In one of the film’s standout scenes, Laura seduces the alien Brian through a seductive dance, a choice Forte says came to her just days before shooting. “I’ve played so many moms, but Addison’s writing lets me explore sexuality and power in ways I’ve rarely had the chance to before.”

Hausu on Haunted Hill

HAUSU, Kumiko Ohba, 1977

Visually, Touch Me is a feast of vibrant colors and surreal sets inspired by Heimann’s love of Japanese cinema. Films like Hausu and Mishima: A Life in Four Chapters informed his approach, blending practical effects and theatricality to create an alien world on an indie budget. “We didn’t have $50 million, so we leaned into hyper-saturated, stage-like designs,” Heimann explains. The result is a world that feels intimate and otherworldly, perfectly matching the film’s themes of alienation and connection.

Heimann’s ability to explore millennial anxiety with humor and compassion is perhaps the film’s most compelling element. “The characters’ struggles feel so real,” Dudley says, drawing from her own experiences with anxiety. “Addison gets it—he knows how to show the absurdity of these situations without losing the humanity.” Gavaris echoes this sentiment: “We’re all in crisis in some way, but Addison makes you feel seen in the chaos.”

Touch Me isn’t for everyone—its refusal to adhere to traditional narrative structures and its embrace of the bizarre may alienate some viewers. But for those willing to dive into Heimann’s vision, the film offers a uniquely rewarding experience. “It’s about broken people finding each other—and maybe themselves,” Heimann reflects.

With Touch Me, Addison Heimann has renewed his status as a vital voice in independent cinema. The film bravely showcases its freak card with purpose and vulnerability. It might be unsettling, as a viewer, to relate to this level of alien chaos. But, as Forte puts it, “Addison makes you scared to take on these roles—but once you do, you realize it’s the most fun you’ve ever had.”

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