At first glance, The Summoning (also known as The Summoning of Baby Blue) looks like the kind of low-budget horror film that might easily slip under the radar. As it turns out, appearances can be deceiving.
Going into the film, I expected a modest, low-budget horror effort that would quickly fade from memory. I couldn’t have been more mistaken. What initially appears to be a tongue-in-cheek tale about a young babysitter, Laura (Valeria San Martin), being stalked through a series of unsettling phone calls—evoking shades of When a Stranger Calls—soon evolves into something far more ambitious.
The narrative takes shape with the arrival of two more young women, Stacey and Maureen, played by Justina Ceballos and Daniela Flombaum. What begins as a casual night of drinks, conversation, and late-night fun slowly slips into creepy pasta territory. As the “Baby Blue, Blue Baby Challenge” comes into play—an echo of the classic Bloody Mary legend for the Gen Z—the trio begins trading unsettling stories as part of their summoning game. From there, the film seamlessly unfolds into its anthology structure.
Each segment delivers its own distinct voice, atmosphere, and perspective, ensuring that no two stories feel alike. This constant sense of variety keeps the film engaging throughout, transforming what could have been a standard horror anthology into a rich, inventive, and unexpectedly memorable experience.
Valeria San Martin plays Laura in The Summoning (2026)
But The Summoning still has a few tricks up its sleeve. Several of its standout segments proved so compelling that they eventually earned feature-length adaptations. One notable example is Hive, directed by Felipe Vargas, which was released earlier this year and serves as a testament to the strength of the stories showcased here.
Rather than feeling like simple proof-of-concept shorts, many of these segments possess the confidence, creativity, and narrative depth to stand on their own. Felipe Vargas’ Carnivora, for example, explores Latino family traditions through a horror lens, weaving themes of responsibility, sacrifice, and unconditional love into its chilling narrative. Meanwhile, Brian Sepanzyk’s In the Shadow of God showcases the talents of Sarah Canning in a haunting and atmospheric tale that examines grief, trauma, and the lingering scars left by loss.
I applaud The Summoning for finding a creative way to showcase already established works within a format that is likely to resonate with a broader audience. In an industry where securing distribution for short films remains a significant challenge, and where audiences often overlook the format altogether, the film serves as an effective gateway to some truly impressive talent and craftsmanship.
While some viewers may initially be hesitant because of its micro-budget aesthetics, The Summoning quickly demonstrates that its true strength lies in the quality of its storytelling, resulting in a rich and entertaining horror experience that is more than worth the price of admission.
The Summoning releases on digital and on-demand June 16.
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