There’s something genuinely exciting brewing in the independent film world right now, and Holy Days is shaping up to be one of those projects that could genuinely matter. We’re still waiting for its theatrical release on February 26, 2026, but the production itself has already generated considerable buzz in film circles—and for good reason. This isn’t just another indie comedy-adventure; it’s a directorial debut from Nathalie Boltt that’s been carefully crafted with impressive international collaboration and some seriously talented people in front of and behind the camera.
Let’s start with what makes this project so intriguing: the creative vision behind it. Nathalie Boltt, known to many as the unforgettable Betty Cooper’s mother from Riverdale, is stepping into the director’s chair for the first time. That’s a significant moment for any actor—that transition to directing requires a particular kind of clarity and confidence. The fact that she’s also writing the film shows someone with something specific they want to say. The tagline, “Breaking the rules. Keeping the faith,” hints at a film that’s interested in exploring tension between institutional structures and personal conviction. It’s thematic territory that, when handled well, can produce genuinely resonant cinema.
The cast assembled is genuinely stellar. We’ve got Elijah Tamati, Judy Davis, and Miriam Margolyes sharing the screen. These aren’t your typical supporting players—this is a lineup that speaks to ambition and artistic intention. Judy Davis brings decades of nuanced dramatic work to any project she touches. Miriam Margolyes is a force of nature, someone who commits fully to every role with infectious energy and authenticity. And Elijah Tamati brings contemporary relevance and depth to whatever character he’s playing. The fact that Boltt assembled this particular ensemble suggests she’s thinking seriously about the emotional texture and character-driven storytelling that will define her debut.
The international production partnership is worth noting here. Firefly Films, Lily Pictures, and Velvet Moss are collaborating with the New Zealand Film Commission, Téléfilm Canada, CBC Films, and Creative BC. This is a genuinely North American co-production with New Zealand involvement, representing the kind of cross-border creative partnerships that have historically produced some of the most interesting independent cinema.
Here’s what I think makes Holy Days particularly timely, even before it hits theaters. We’re living in an era where audiences are hungry for films that engage with questions of faith, ethics, and institutional power without being preachy or didactic. There’s a middle ground between the aggressively secular indie film and the faith-based drama, and that’s precisely where thoughtful cinema lives these days. A comedy-adventure that grapples with these themes could find a genuinely engaged audience.
The film’s scheduled release structure is itself noteworthy. It’s anticipated to premiere at the Santa Barbara Film Festival on February 5, 2026, before its wider theatrical rollout through Blue Fox Entertainment on March 27. That kind of festival launch suggests confidence in the final product—premiere at a prestigious venue, then build momentum toward the broader theatrical release. It’s the kind of rollout that indicates the filmmakers and distributors believe they have something worth championing.
Why this project matters beyond the immediate release:
- A fresh voice in indie cinema: Boltt’s directorial debut arrives at a moment when new directors with something specific to say are exactly what the film industry needs
- International collaboration as standard practice: This Canadian-New Zealand-American co-production exemplifies how modern filmmaking transcends borders
- Character-driven storytelling: With this cast, this is clearly a film built on performance and emotional authenticity rather than spectacle
- Thematic relevance: The intersection of faith, rules, and personal integrity remains eternally resonant
It’s worth acknowledging that the film currently carries a 0.0/10 rating on rating aggregators—but that’s simply because it hasn’t been released yet. That blank slate is actually part of what makes anticipation possible. There’s no critical consensus to work against, no polarized discourse. There’s just potential and promise.
What I find myself most curious about is how Boltt navigates the tonal balance between comedy and adventure while maintaining the thematic weight that the tagline suggests. That’s harder than it sounds. Too much levity undermines the stakes; too much gravity makes the comedy feel forced. The best films in this vein—think Philomena or Moonlight Mile—manage to honor both impulses simultaneously, creating space for genuine laughter while exploring real stakes and difficult questions.
At 1 hour and 41 minutes, it’s a lean runtime that suggests a filmmaker confident in her material and her ability to tell the story efficiently. There’s no padding here, no studio-mandated expansions. This is a filmmaker with clarity about what her story needs to be.
The bigger conversation Holy Days will likely spark revolves around how contemporary cinema handles faith and spirituality without kitsch or condescension. Whether we’re talking about institutional religion, personal faith, or the tension between the two, there’s room for sophisticated storytelling here—and Boltt, Davis, Margolyes, and Tamati seem positioned to deliver exactly that. That’s why February 26, 2026 is worth marking on your calendar. This one genuinely has something to say.
