Camilla Carr, a Texas-born actress who rose to cult status in 1970s horror cinema and delivered one of television’s most debated sitcom performances, passed away on Wednesday, February 4, 2026, in El Paso, Texas, due to complications from Alzheimer’s disease and a dislocated hip. She was 83.
Her death was confirmed by her son, writer, poet, and artist Caley O’Dwyer.
Born on September 17, 1942, in Memphis, Texas, Carr became a distinctive figure in American independent film through her partnership with exploitation director S.F. Brownrigg. Her roles in his low-budget horror films showcased her talent for convincingly depicting psychological breakdowns, cementing her place in cult-movie history.
Carr’s breakout performance was in the 1973 film “Don’t Look in the Basement,” where she played a disturbed patient who kills a nurse. Set in a secluded mental institution, the movie became a defining entry in 1970s exploitation horror. She teamed up with Brownrigg again for the 1974 film “Poor White Trash Part II,” later known as “Scum of the Earth,” which also developed a devoted cult following.
Her most acclaimed horror role came in 1977’s “Keep My Grave Open,” in which Carr portrayed a woman haunted by a violent split personality. The film’s psychological depth highlighted her dedication to craft, even when working with limited resources.
Although Brownrigg’s films were produced on extremely small budgets, they earned loyal fans for their eerie atmosphere and willingness to explore unsettling emotional themes. His skill at generating tension with minimal means earned him respect among exploitation enthusiasts, and Carr became one of his standout performers.
Years later, Carr returned from retirement to act in 2015’s “Don’t Look in the Basement 2,” directed by Anthony Brownrigg, the son of the original filmmaker. The sequel paid homage to the cult classic that launched Carr’s horror career while continuing the story.
Outside the horror genre, Carr maintained steady work in mainstream projects. She appeared in the 1976 sci-fi landmark “Logan’s Run” and the 1970 crime drama “A Bullet for Pretty Boy.”
On television, she had a recurring role as Rita Connelly on 34 episodes of “Another World” and made guest appearances on “One Day at a Time.” In 1988, she portrayed housekeeper and snoop Nellie Maxwell in three episodes of CBS’s primetime soap “Falcon Crest.”
Perhaps her most unforgettable TV appearance came in October 1987 on “Designing Women” in the episode “They’re Killing All the Right People.” As Mrs. Imogene Salinger, a Sugarbaker client voicing controversial opinions about AIDS, Carr helped ignite a national discussion during a critical moment in the epidemic.
In the episode, her character overhears plans for a funeral for a young designer played by Tony Goldwyn, who is dying of AIDS. Her role reflected the discrimination many people with AIDS faced during that era.
The script was written by creator Linda Bloodworth Thomason, who was motivated by personal loss—her mother had recently died after contracting AIDS from a blood transfusion. The episode earned her an Emmy nomination.
Reflecting on his mother’s provocative role, O’Dwyer said: “It was a ***** character, but she did a great job for an important cause.”
Carr’s stage work further displayed her artistic range. She portrayed Maxine in Tennessee Williams’ “The Night of the Iguana” in 1991 at the Los Angeles Theatre Center, one of several plays she performed there. Her theater roots trace back to Texas, where she attended Kermit High School and the University of North Texas before pursuing acting professionally.
She met her first husband, Hugh Feagin, when they were both acting at Theatre Three in Dallas. They appeared together in several films, including “A Bullet for Pretty Boy,” “Don’t Look in the Basement” and “Poor White Trash Part II,” before eventually divorcing.
She later married Oscar-winning screenwriter Edward Anhalt, a marriage that lasted until their 1976 divorce.
Outside acting, Carr also wrote for television and authored the 1989 comic novel “Topsy Turvy Dingo Dog,” which drew on her experiences navigating both low-budget projects and mainstream entertainment, offering a humorous insider’s view of the industry.
Over more than forty years, Carr moved seamlessly between exploitation films, network TV, stage productions, and writing. She consistently embraced challenging—and sometimes provocative—roles, showing a willingness to defy stereotypes and expectations.
The horror films that made her a cult icon continue attracting new viewers through streaming and revival screenings. “Don’t Look in the Basement” remains a staple of 1970s exploitation film fandom, while “Keep My Grave Open” is increasingly recognized for its psychological ambition despite its low budget.
Her “Designing Women” appearance remains a pivotal cultural moment in how 1980s television addressed the AIDS crisis. At a time when many networks avoided the topic, the show tackled it directly, using Carr’s portrayal of prejudice to underline a message of empathy and humanity.
Throughout her career, Carr displayed a commitment and versatility emblematic of the best character actors. Whether in low-budget psychological horror, prime-time drama, or stage productions, she approached her work with seriousness and skill. Her collaborations with S.F. Brownrigg helped define a unique style of American indie horror, while her TV roles brought her talent to a broader audience.
Carr is survived by her son, Caley O’Dwyer, who continues his creative career as a writer, poet, and painter.