Alexander Ullom’s “It Ends” Finds a Path From Indie Roots to Theatrical Release

Writer-director Alexander Ullom’s debut feature “It Ends” follows four friends in their early-20s—Day, James, Tyler and Fisher—who become trapped on an endless two-lane road, pursued by frantic strangers from the woods. The narrative hinges on the characters’ decision to keep driving, hoping the road will finally end. After a limited run at the South by Southwest Film Festival in March 2025, the film secured a wide theatrical release, an uncommon achievement for a micro-budget indie.

Salon

The commentary highlights that, unlike genre peers such as “Obsession” and “Backrooms,” which arrived with built-in YouTube audiences, Ullom entered the market with virtually no fanbase. He has a handful of early-career sketches on the platform and has not posted in over five years, limiting organic hype. A partial investment from a subscriber and modern digital tools helped the film navigate the distribution landscape, allowing it to reach mainstream screens despite the typical barrier that a festival slot alone does not guarantee broad exposure.

Salon

The film’s 89-minute runtime is described as “swift” and “purposeful,” balancing thriller pacing with deeper commentary on Gen Z digital disaffection. Scenes such as a 90-second dance break that triggers a mocked cry for help serve as a metaphor for the desensitization fostered by constant online exposure. The writer argues that the story illustrates how pervasive internet suffering becomes “white noise,” while also suggesting that even a small seed of hope can sustain humanity amid relentless anguish.

Salon

Early critics at SXSW praised the movie’s “blistering insight” into contemporary life, noting its blend of humor, horror, and existential reflection. The article positions “It Ends” as a counterpoint to the hype-driven releases dominating the current summer slate, emphasizing its “optimistic, tenacious flair” that fills a perceived gap in thoughtful, Gen Z-focused cinema.

Salon

Ullom’s trajectory demonstrates that a clean creative slate, combined with strategic use of digital platforms and festival exposure, can propel a low-budget project into the theatrical arena. The piece suggests that studios are increasingly attentive to original voices, and that success stories like “It Ends” may encourage other first-time filmmakers to pursue unconventional distribution routes while addressing the cultural anxieties of today’s youth.

Salon