Genre films are, for the majority, few and far between in the Festival de Cannes’ program each year. The premiere of horror cinema at the esteemed fest is perhaps rare, albeit not unheard of, as well-known titles. Such as Andrzej Zuławski’s Possession did so in 1981, along with Lars Von Trier’s Antichrist in 2009. Or even Robert Eggers’ The Lighthouse in 2019, and most recently, Julia Ducournau’s divisive Titane in 2021. Though arthouse horror has historically found a way to sneak its way into the French Festival’s line-up, it’s fair to say a satirical, near-slapstick shark serial killer flick has yet to do so, until now.
Sean Byrne’s Dangerous Animals premiered at the 2025 Cannes Film Festival in the Director’s Fortnight section of the fest. Marking the first time an Australian feature screened in the program since 2014, when Zak Hilditch’s These Final Hours was presented.
This time, though, instead of an end-of-the-world party ahead of the impending apocalypse, it’s a bit of a different premise. Byrne’s flick is a lot more twisted and imbecilic in a way that asks its viewers to suspend belief more than a few times. Even so, Dangerous Animals is a concise, entertaining watch with impressive technicals and a memorable performance by its lead scoundrel.
Dangerous Animals is set on the sunny Gold Coast of Australia and stars Yellowstone’s own Hassie Harrison as the titular Zephyr. A 20-something free-spirited soul who embraces her nomadic lifestyle and hippie mentality to the fullest extent. She’s a nonconformist who likes her time alone, enjoys surfing whenever she pleases, and lives out of her van. Surviving purely off cheap bread and vibes.
Josh Heuston is Moses, a local with unfortunate car trouble who begs a disgruntled Zephyr for a quick jump. Which leads to the two spending at least part of the night together. Then there’s Jai Courtney, who appears to have an absolute blast portraying Tucker. A charismatic tourist boat captain with a specialty in shark cage diving who regularly invites clueless tourists on board his grungy vessel amidst the chummy, bloody waters.
The thing is, since a near-fatal encounter with a shark as a child, Tucker has had a taste for killing, and not in a generic way by any means. He targets couples, routinely taking out the man before holding the woman hostage and waiting until nightfall, when he lowers her via crane into sharky waters and films the inevitable mauling on VHS as she’s torn limb from limb. But not before saving a lock of each victim’s hair.
Perhaps Zephyr and Moses would’ve shared a slow morning together over the hearty breakfast he prepared for the both of them, if Zephyr and her commitment issues wouldn’t have quietly dipped to go catch some waves at dawn. Unfortunately for her, Tucker is waiting for his next victim in that same parking lot and chooses the small American as the latest iconic final girl.
The blonde wakes up handcuffed to a bed on the murderer’s boat. And it’s clear that if she can’t outsmart him soon enough, she will be the next thing chumming the pristine waters of the Gold Coast. That is, unless Moses cares enough to let her down in time. Or Zephyr herself finds a way out of this outlandishly high-stakes situation.
Nick Lepard’s screenplay attempts to try something new, but can’t escape falling into trope-y, near Lifetime movie-esque writing at times. With cringe-inducing dialogue and predictable beats that repeat one or two too many times. This, coupled with a plethora of obnoxious jump scares that repeatedly rely on blasting the volume of the flick, is a recipe for annoyance.
What ultimately saves the film is its unabashed self-awareness of its satirical nature and the sense that it’s in on its own joke. Inviting the audience to let down their guard, as well as any preconceived notions in hopes they do the same. And if one follows suit, Dangerous Animals is an honest to goodness bloody enjoyable time.
Not to mention the film’s wildly impressive production value and fantastic technical aspects, which help in bounds to heighten the slasher. Shelley Farthing-Dawe’s stunning cinematography is alluring and immersive, as she captures the duality of Australia’s open waters. Both the terror of it, as well as the beauty it holds. Kasra Rassoulzadegan’s editing helps to move the near 90-minute runtime along efficiently, as well as aiding a rather lacklustre script. And wildly fitting music by Michael Yezerski brings an energy to the bloody violence, both beneath the waves and up on deck that undeniably helps set the tone for the entirety of the film.
Dangerous Animals is an amusing and agreeable summer flick. That’s fun enough to scream along with, yet just barely rises out of the tides enough to reach a level above “B-movie” status. Despite this, the fact it doesn’t take itself too seriously becomes its most charming factor. And it seems to hope this is enough for audiences to overlook its multiple plot holes and eye roll-inducing writing. With solid performances, craft work to beat, and a campy energy that can’t be missed, Dangerous Animals is a fine time to be had. And if it’s not for you, you can blame the script, you can blame the jump scares, but you can’t blame the shark.