Forbidden Fruits Review: Victoria Pedretti Leads a Cast of Sharp Tongues

The Dallas mall appears as a domain of fluorescent fakery and air gone stale. Meredith Alloway’s Forbidden Fruits turns that emptied setting into ground for a fresh strain of occult ritual. Apple, played by Lili Reinhart with a chilly, razor-fine severity, claims control before she even crosses the threshold.

During a confrontation in the parking lot, she turns a hot latte and a Stanley Cup into weapons against a leering stranger, and the film immediately announces its mood of cutting, retaliatory femininity. She presides over the staff at Free Eden, an upscale boutique operating as a haven for spiritualized consumption.

Cherry and Fig work under her, each having traded a legal name for a fruit alias that marks entry into an enclosed order of retail nobility. That structure wavers once Pumpkin arrives. She works at a pretzel stand, and her curiosity draws her into the coven’s pull. The film imagines retail work as sacred ceremony and the storefront as a shrine. Human connection takes shape through the rules of the sales floor, and every exchange answers to that logic.

Botanical Hierarchies: The Power of the Fruits

Lili Reinhart plays Apple with unnerving exactitude. She speaks in the polished idiom of therapy culture and corporate HR, using that language to tighten her grip on the people around her. Her expression stays blank and unreadable, keeping open the question of genuine occult force or a deeply sociopathic command of manipulation. Victoria Pedretti, alongside her, twists the airhead archetype into something richer.

Cherry lands with exquisite comic timing, yet trauma sits plainly beneath her surface, hinting that Apple’s circle offered shelter from some earlier wound. Alexandra Shipp gives Fig a stabilizing presence. She stands as the cerebral employee who treats the store as a brief stop before graduate school. Her presence ties the mall’s absurd, sealed-in reality to a wider life beyond the glass.

Lola Tung shifts the arrangement through Pumpkin. She arrives as an innocent initiate, then reveals an alertness that unsettles the existing order. Her hidden motives generate tension that lays bare the weakness in Apple’s rule. Pickle, a banished former member played by Emma Chamberlain, lingers at the story’s edge like a ghost of prior punishment.

Her absence warns everyone what expulsion means inside a group that prizes loyalty above any feeling of mercy. Together, these performances form a study of power passed through murmurs, looks, and tiny gestures across the shop floor.

Temporal Static and Retail Geographies

The visual design of Forbidden Fruits stages a purposeful clash of periods. Sarah Millman’s costumes drape the characters in Y2K markers such as butterfly clips and sequined fabric, while modern smartphones remain in their hands. That anachronism gives the film a porous sense of reality, as though time has gone soft and stalled. The mall becomes a sterile expanse where neon storefront light has taken the place of the sun.

Alloway uses the single-location design to build a steady pressure of claustrophobia. The choice to keep the action inside the store and the parking lot intensifies the sealed quality of the group’s existence. The film’s origin as a stage play becomes visible here, with spatial restriction sharpening the emotional stakes.

Clothing works as an external sign of psychic weather, fabrics seeming to shift in sympathy with each character’s mood. Prismatic color and assertive silhouettes underscore the importance the characters place on their retail habitat.

The low electric hum of fluorescent lighting and the synthetic smell drifting from the food court deepen the sensation of a retail inferno. The setting carries the feeling of a closed circuit of consumption, a place where the mall has swallowed every other possible world.

Sacred Sales: The Cult of Consumer Femininity

The film turns to the rhetoric of sisterhood as a way of examining the uglier face of spiritual capitalism. Apple’s language of girl power conceals an ordered structure of control and harm. Dressing room rituals involve reciting Britney Spears lyrics and drinking strange juice mixtures.

Spiritual practice has been recast here as a purchasable ritual, filtered through pop iconography and corporate self-care language. The characters search for paradise inside the mall and reproduce the same predatory habits from which they seem to seek refuge.

That fallen-paradise movement gives the film much of its sting, since the search for real community cannot hold steady inside a hypercapitalist space. The absence of social media, set against a recognizably modern world, produces an eerie isolation that makes every act feel sharper and more desperate.

The characters carry a nihilism that cuts hard against the bright cheer once common in teen cinema. The film points toward a generation handed a world full of collapsing structures and left trying to assemble meaning from wreckage. Identity, shared pain, and the performance of intimacy become tools of leverage in a culture ruled by surface.

Sarcastic Splatter and Narrative Decay

Meredith Alloway directs the material with a caustic wit that seems touched by producer Diablo Cody’s stylistic presence. The dialogue arrives in a constant stream of punchlines and curses, with tone taking precedence over clean narrative movement. Plot recedes into the background while atmosphere pushes forward, guided by a rhythm built from character fragments instead of straight progression.

The film lives through mood and texture, holding together through feeling. In the final act, the slide into a bloody slasher register feels fully in keeping with the film’s sarcastic spirit. Death scenes play like jokes timed for maximum sting, preserving the R-rated comic pitch while blood spreads across the frame. Major gaps remain around the girls’ histories and the exact nature of their magic.

The script leaves those spaces open and keeps its attention on the immediate force of retail life. Traditional expectations of nuance hold little power here, since the film prefers blunt thematic delivery. That refusal to explain suits its absurdist instincts, treating the inexplicable as another ordinary feature of the mall. The final image, shaped by a collective scream of release, lands with a catharsis that feels as vacant and echoing as the mall itself.

Forbidden Fruits made its world premiere at the SXSW Film & TV Festival on March 16, 2026, before arriving in theaters across the United States on March 27, 2026. As of today, April 20, 2026, the film is currently in its theatrical run and is scheduled to be available for streaming exclusively on Shudder later this year. The project, which was highly anticipated following its appearance on the 2023 Black List, marks the feature directorial debut of Meredith Alloway and features a prominent ensemble cast.

Full Credits

• Title: Forbidden Fruits

• Distributor: IFC Films, Shudder

• Release date: March 27, 2026

• Rating: R

• Running time: 103 minutes

• Director: Meredith Alloway

• Writers: Lily Houghton, Meredith Alloway

• Producers and Executive Producers: Mason Novick, Diablo Cody, Trent Hubbard, Mary Anne Waterhouse, Charlie Traisman, Katherine Romans, Casey Durant, Rachel Douglas

• Cast: Lili Reinhart, Lola Tung, Victoria Pedretti, Alexandra Shipp, Emma Chamberlain, Gabrielle Union

• Director of Photography (Cinematographer): Karim Hussain

• Editors: Hanna Park

• Composer: Anna Drubich