It’s been a thrill watching Little Rock, Arkansas native Jeff Nichols evolve into one of the defining voices in American independent cinema. He announced himself with the slow-burning powder keg that was Shotgun Stories (Sundance passed on the film, the Berlinale didn’t) before cementing his arrival with the apocalyptic brilliance of Take Shelter. Over nearly two decades, Nichols has built an impeccable filmography rooted in family, faith, and the fragile ties that bind us, effortlessly weaving together Southern Gothic, science fiction, romance, crime, and historical drama. Whether it’s Mud (2012), 2016’s Midnight Special and Loving (read review), or The Bikeriders (2023), his films return time and again to three defining obsessions: the mythic landscapes of the American South, fathers and sons navigating fractured relationships, and ordinary people confronting extraordinary forces—be they supernatural mysteries or history-changing battles for justice. And, of course, it wouldn’t quite be a Jeff Nichols film without his longtime cinematic muse, Michael Shannon, somewhere in the frame. Here is everything we know so far (American Indie Edition) for … Jeff Nichols‘ King Snake.
After being tied to several projects and some false starts (projects such as Land of Opportunity, Yankee Comandante, The Passenger, Stella Marais, Alien Nation have all been mentioned), Nichols set sail on an original film this past April in his backyard of Arkansas with no studio backing until NEON swooped in and got the rights weeks later.
This follows a young couple who inherit a farm in rural Arkansas and must conquer the demons, both physical and metaphysical, that haunt its legacy. Forces of good and evil collide in a terrifying film where real-world challenges crash headlong into otherworldly creatures and myths.
Margaret Qualley, Drew Starkey, and Michael Shannon topline the feature.
Cinematographer Adam Stone has been with Nichols since the beginning and he once again returns. Producer Sarah Green who has been onboard since Take Shelter teams with someone who has also backed the filmmaker in Brian Kavanaugh-Jones.
NEON will be looking at submitting this for the competition section in Cannes in 2027.
