Green Room

A broke punk band called the Ain’t Rights takes a last-minute gig at a remote Pacific Northwest neo-Nazi skinhead bar. Bassist Pat walks in on a murder in the backstage green room. The club’s calm leader Darcy and his crew seal them in with local Amber and try to erase the witnesses. What follows is a brutal, claustrophobic fight for survival with improvised weapons, attack dogs, and almost no lectures about ideology. The story works first as a siege and survival thriller, not as a project built around identity politics.

Neo-Nazis appear as organized and dangerous antagonists rather than cartoon props for a speech. The film spends little time on white supremacy ideology beyond symbols, hierarchy, and a brief line that the group is a movement, not a party. Most talk is negotiation, panic, and logistics, not modern social-justice monologues. Punk-versus-skinhead energy is texture for the setting and threat, not an empowerment or representation campaign. A woman in the band and a capable female co-survivor appear, but the ensemble otherwise matches that punk and skinhead world and is not built as a diversity showcase.