Hammer Film Productions has long been a concrete part of British cinematic history, defining the horror genre and cementing itself as a key component in the world of iconic horror cinema. To celebrate the production company’s prodigious 90th anniversary, Hammer has teamed with Sky Arts to create the epic documentary ‘Hammer: Heroes, Legends and Monsters’, showcasing the monumental journey of the infinitely beloved Hammer Films.
Bringing this essential documentary to life is director Benjamin Field, whose approach to manifesting the elaborate history of Hammer is both one of valiant openness and meticulous detail. The documentary traverses the early days of the company, offering an exclusive peek into Hammer pre-horror, before moving into its glory days of monstrous proportions, featuring the origin tales of The Quatermass Xperiment (1955), The Curse of Frankenstein (1957), Dracula (1958) and The Mummy (1959).
Interestingly enough, the documentary is not fearful of delving into the downfalls that Hammer has experienced in the past. One particular example being the release of Captain Kronos: The Vampire Hunter (1974). The film may have experienced a resurgence in popularity over the last couple of years; however, upon its initial release, Hammer failed to promote this could-be-hit to its maximum potential. It is small details such as this that make ‘Heroes, Legends and Monsters’ the exemplary feat that it is. The film’s retellings are beyond comprehensive, with the modest runtime of 90 minutes managing to effectively and smoothly cram an entire encyclopaedia-like history into one single feature.
The variety of Hammer’s history is exuberantly delivered by various talking heads, featuring interviews from a fruitful list of icons, experts and Hammer stars, including: Tim Burton, John Carpenter, Joe Dante, John Landis, John Logan, Axelle Carolyn, Caroline Munro, Martine Beswick, Madeline Smith, alongside Hammer’s new CEO John Gore. The string of genuinely insightful, exciting and interesting conversations, stories and never before known tidbits into Hammer’s legacy is spliced with contextual clips of the most beloved moments from the extensive catalogue.
Heroes, Legends and Monsters will leave you brimming with plenty of ‘did you know’ quips to last a lifetime, with the telling, enlightening tale being akin to a tailor-made product that fans of horror will undoubtedly adore. Field’s actioning of spreading the legacy of Hammer is evident, with the future of the production house being teased. As Gore’s cameo makes clear, although Hammer is turning 90, the establishment is far from wrapping up. Gore’s direction is to revamp the studio using contemporary stylistics, but with that classic British charm that made Hammer the beacon of horror that it is.
Hammer: Heroes, Legends and Monsters breathes new life into the conglomerate of monsters that evolved throughout the production’s whopping 90 years, with the documentary giving credence to the staple figures who have since passed. With permission from the estate, the legendary Peter Cushing makes an appearance during the epic conclusion, with his likeness being resurrected at the hands of AI. It is this precise means of furthering the history of Hammer that makes this documentary the absolute must-see that it is.
Hammer: Heroes, Legends and Monsters premieres on Sky Arts this Halloween.
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To be able to hold Freddy Krueger’s bladed glove, to sit and admire the luminescent glow of a real Lightsaber from the Star Wars universe in person, to be in reaching distance of the camera that shot the Alfred Hitchcock classic Vertigo (1958) is a dream of many cinephiles.
The fascination we hold dear towards movie memorabilia can blossom from a range of factors, whether it is because we still have a personal attachment to a beloved film from our childhood, or maybe it’s at the hands of a deep connection to a comfort film that we have watched time and time again.
Costumes, filming equipment, masks, and props, alongside an array of every niche object one could fathom, from the likes of genre essentials and cinematic universes, are not just meaningless articles that share a tie to media. In fact, it’s quite the contrary. As director and writer Juan Pablo Reinoso attests to throughout the documentary ‘Mad Props’, these pieces from the silver screen are inextricably tied to audiences’ sheer devotion and admiration towards the dazzling world of cinema.
Exploring ‘prop culture’ as a valuable and critical art form is Mad Prop’s host, Tom Biolchini, a self-proclaimed movie nerd who sets out to review the wide array of props that collectors have formed entire museums around. Many of these collections exhibited throughout the documentary can be defined as entire conglomerates due to the overt size and range of relics amassed over the years.
One particularly notable display comes from the Lyon located ‘Musée Cinéma et Miniature’, a French museum akin to that of a vault filled with a mix of the most unique and iconic artefacts from cinematic history. Whilst the specificities of the objects are best left to be self-discovered, the exhibition ranges from 1980s horror favourites to Hollywood blockbusters.
Alongside the countless displays of movie mementoes is a series of interviews between Biolchini and a whole host of industry specialists, prop connoisseurs and creators, as well as actors such as The Springwood Slasher himself, Robert Englund, Lance Henriksen, who notably played the android officer Bishop in the Alien franchise, followed by the multi-talented Mickey Rourke, star of 9 ½ Weeks (1986), Angel Heart (1987) and Sin City (2005) — to name a few.
Despite the examination of mass collecting, Mad Props does not abandon the individuals who see collecting as a hobby, saving up and then attending auctions and spending ‘hundreds, not thousands’ on treasured, sentimental pieces. Culminating a prop collection is for everyone, just as the passion behind collecting is ubiquitous.
It is this notion that forms the skeleton on which Mad Props is based upon. From the various legends featured through to the humble collectors, followed by the director and host himself, Mad Props is a love letter to cinema. This remarkable movie was created by fans and very much made for fans.
You can catch the film Sunday 29th September at this years festival, tickets here!
Shattering all predictions is David Yorke’s Safe, a microshort that stuns with its humour and dark wit as we follow a unique ‘home invasion’ by a knife-wielding masked killer. The clever amalgamation of horror and comedy is not an unfamiliar sight, yet Yorke’s ability to create thrilling scenes of intense horror with a left-field ending is a lesson in original, artful filmmaking.
Skulk (Directed by Max Ward)
Claire (Elina Gavare) wakes in the night to the sound of screaming foxes. She remains annoyed yet unfazed at the common disturbance, that is, until she sees a strange figure outside her window. It’s not unusual to hear the screeching cries of foxes in the dead of night, with their innate raspy, almost-painful sounding screams being the nocturnal anthem of the British public. However, does it ever cross one’s mind that what they think are foxes calling out could be human screams or something even worse? This is precisely what director Max Ward so effectively conveys in Skulk. In the wee small hours of the night, the mind plays tricks on us, and with imaginations running wild, our worst nightmare seems only around the corner, or in the case of Skulk, maybe it’s already inside…
Body Worn Video (Directed by Tony Hipwell)
From the filmmaker behind short films Standing Woman (2021), Bad Penny (2022) and the co-director of Zomblogalypse (2022) is Body Worn Video, a found footage horror. The film follows officers Cane (Oliver Devoti) and Adel (Chantelle Alle) as they answer a worrisome call concerning child abuse. Body Worn Video pulls a fast one with its unexpected genre twists that range from an occult-heavy ambush to a full monstrous assault. The effect of a body cam being the lens enhances the authentic and serious tone of the film, ensuring full immersion whilst the wildly nerve-wracking series of events unfold.
The Curse of the Velvet Vampire (Directed by Christoffer Sandau Schuricht)
Two horror fans meet in a cult video store to screen the mysterious film “The Curse of the Velvet Vampire”. This Danish short film has a movie-within-a-movie, meta-esque quality at the hands of the on-screen vampire film watched by the obsessed genre fans. As such, director Christoffer Sandau Schuricht peppers in plenty of cinematic detail, from the heavy stylisation that thrives with its ultraviolet lighting all the way to the vampiric infusion that is reminiscent of the beloved sleazy vampire sexploitation films of the 1970s.
Nervous Ellie (Directed by David Yorke)
The painfully shy Ellie (Kelsey Cooke) struggles to tame her nerves during a first date with Danni (Sophia Capasso), resulting in unforeseeable consequences. Award-winning filmmaker David Yorke succeeds once again in proving his stellar talents, with Nervous Ellie being a true feast to behold. As the film unfolds and its terrifying yet oddly stunning conclusion nears, the audience is treated to an immense performance from Cooke, the ‘Nervous Nellie’ herself. Although a short film, Nervous Ellie delivers a thrilling ending that the lucky viewers will long remember.
Black Hole Barry (Directed by Alejandro Alberol)
Prior to Scott’s (Michael Batten) boyfriend Robin (Joseph Potter) moving in, he ventures out for one last wild night of freedom. Unbeknownst to him, his secret philandering will soon result in an almighty reckoning. The exceptional results of this demonic horror are a testament to independent filmmaking, with its extremely unique and unorthodox exaggeration of adulterous characters being a hilariously dark and twisted spin on genre cinema.
The Mannequin (Directed by Emelie Dahlskog)
A hardworking seamstress (played by director Emelie Dahlskog) creates a mannequin based on her own form, but after a series of creepy events, she suspects that the mannequin has a mind of its own. The Mannequin taps into fears of existential angst, particularly how lack of progression in professional development can lead to deep-rooted anxiety over the self. This premise is materialised by the presence of the mannequin (Michelle Ljungcrantz), whose seemingly vacant appearance represents a lack of autonomy, as well as being a haunting, eerie force of horror.
What A Catch (Directed by Thomas Pickering)
A Victorian fisherman’s (Nathan Geering) late-night fishing trip takes a sinister turn. It’s of no surprise to learn that director Thomas Pickering is a lifelong cinema aficionado, with What A Catch being a clear love letter to the potency of the horror genre. The short film has a rare mix of slow burn patience in revealing its source of terror whilst still being maximalist in its portrayal of bloodied horror.
Little Brown Bird (Directed by Peter Rogers)
On the shortest day of the year, the overworked farmer Kate (Eliza Butterworth) must care for her ailing father (John Rhys-Davies), who has dementia and is convinced that something is hunting them. Little Brown Bird is an emotionally charged film that tackles the living loss of a loved one through dementia, with the relationship between Kate and her father being a focal point for the affective narrative to flourish. In tandem with the riveting, poignant story is the film’s moving scoring, which has a softness akin to a lullaby that works to further the dimensional relationship between the father-daughter bond amidst an air of uncertainty and mystery.
Do Not Open (Directed by Samuel Terence McNally)
Do Not Open follows three friends (John Sinclair Evans, Leah Rogers and Adam Deary) who head to a remote countryside house, only to discover that the house has another guest stalking them, a formidable creature that can only be seen when it wants to be. This incredible short film was shot and animated entirely on Super 8, which embodies a raw, nostalgic take that adds gravity to the ‘found footage’ rhetoric of the plot. Throughout, the diegetic lens captures an almost voyeuristic aura that emulates this idea of an omniscient creature lurking amongst the group.
You can catch the films Saturday 28th September at this years festival, tickets here!
Inspired by the works of Ladislas Starevich, the creator of the first puppet-animated film The Beautiful Leukanida (1912), is Les Bêtes, a haunting stop-motion horror akin to a dark fairytale that follows a mysterious rabbit who summons a myriad of wonderfully strange creatures. This four-year project, conceived by Michael Granberry, is entirely regenerative, with the short solely using recycled film and repurposing abandoned characters made for previous projects that never materialised. Granberry’s experience in the industry has seen him perform as a stop-motion animator in various award films such as Anomalisa (2015) and Tales of Halloween (2015), alongside the horror documentary Never Sleep Again: The Elm Street Legacy (2010) and Swallowed Souls: The Making of Evil Dead II (2011). The one-of-a-kind, outlandish aesthetic is made thanks to the improvisational development of the film, with the short having no script or storyboards; instead, Granberry gathers the intricate characters and allows a narrative to flow naturally. As such, Les Bêtes has an organic quality despite the fantastical elements, fashioning a final product reminiscent of a phantasmagorical fever dream.
VHX (Directed by Alisa Stern and Scott Ampleford)
The nostalgia-driven VHX delves into the life of forgotten VHS tapes that sit on a shelf, waiting for the day when they will be chosen and played once again. Little do they know, there’s a fate far worse than living a life in their cases. Director duo Alisa Stern and Scott Ampleford’s mutual admiration for physical media and corny horror cinema, alongside their shared appreciation for the effects that stop-motion animation has to offer, creates a unique, laugh-out-loud take on the trials and tribulations of a neglected home video. The anthropomorphic tapes are what make the top notch animation and creative script thrive, with the Toy-Story-like actions and quick-witted personas being a scarily accurate representation of what one would imagine a humanoid videotape would act like. Top all of this off with an ingenious twist; then you have a guaranteed crowd-pleaser.
Merkurio (Directed by Sébastien Pesle)
This wildly chaotic and maddeningly entertaining thriller follows a lusted-after gigolo (James Ferrux) whose seemingly harmless flirting with an older woman (Olga Martinez) unleashes a world of volatile mayhem. This folkloric comedy meets witchy horror is inspired by the Basque lore and mythology from the Spanish quarters, infusing elements of obscurity and mystique to create an alluringly dark short with the bones of gory horror cinema. These facets of wickedness result in intensely graphic scenes of visceral bloodshed that are made all the more beguiling by the black-and-white effect lashed over the entire film.
Fisitor (Directed by Llŷr Titus)
Stalked by grief after the tragic death of his husband, Loan’s (Gwïon Morris Jones) life has spiralled into misery. As though fate was not cruel enough, his despair is compounded by the haunting of an unearthly creature of Welsh folklore. Fisitor is agony personified—a nightmare screened. Loan has lived through a cataclysmic misfortune, and director Llŷr Titus has no qualms in displaying this heartache, with this fantastic and moving short being one of great affective magnitude. Fused with the narrative is the display of Welsh culture that bleeds throughout. The film embraces its cultural roots through its dialogue, which is composed entirely of the Welsh dialect, and its inclusion of homegrown mythology. Fisitor’s mythological diegesis is rife with haunting imagery and a dark, bleak gloom that melds an omniscient feel to the antagonistic force throughout this deeply impactful short horror.
Lord of the Free Range (Directed by Simon Dymond)
An unwilling to budge father’s (Richard Glover) rigid ways of thinking pushes away his family to a mysterious cult run by the elusive Father Magnolia (Dominic Garfield), who makes it his mission to worship a ‘resurrected’ chicken. What Lord of the Free Range boldly and wisely does is challenge the various forces of play throughout, with director Simon Dymond satirising the antagonist’s presence of the overtly carnivorous appetite from Tony whilst also lampooning the ludicrousness of the cult’s actions. Accompanying the witty story is the unquestionably admirable production value that hones in on a rich, distinctive style and aesthetic to enhance both the character of the film and the overall effect.
Demons in the Closet (Directed by James Smith)
Demons in the Closet recounts the imaginative claymation story of a resident whose closet is host to a labyrinth of demons. This genre-twisting short flips the script as it delivers a thrilling and unparalleled twist of fates within less than two minutes. The punchy gore and monster design collaborate to create a wealth of wacky and wicked creatures that speak to how the art of claymation allows for textural depth and a sense of individual, handcrafted work to shine.
You can catch the films Friday 27th September at this years festival, tickets here!
Estranged friends Nye (Steffan Evans) and Daf (Tomos Gwynfryn) go to collect a free armchair from a seemingly lonely, frail elder woman (Olwen Medi); however, when a cascade of sinister events unfold, the pair must fight to make it out alive. Collection Only defies expectations as this thoroughly creepy feature tackles more than just its immensely unsettling atmosphere, with the film exuding bouts of humour amongst its lead characters. It is made clear that the bond between Nye and Daf has deteriorated over time, leading to the distanced pair grappling with a lost friendship, all the whilst being tormented by an evil force.
Embrace (Directed by Axel Zeltser)
Inconspicuously lying in a Parisian alleyway is a bucket that Mélanie (Natte You) walks past every day unbeknownst; that is, until the ever-present bucket suddenly catches her eye. Although Embrace is a micro-short consisting of only two minutes, the film is significantly potent, with the visuals and lighting being grandiose and superb, alongside the vividly alarming and disturbed ending that grabs the viewer with a chokehold and refuses to let go.
Daughters of Evil (Directed by Adam Taylor and Natasha Malone)
In 1966, a nameless girl group consulted a spirit board to seek out the perfect band name – ‘Daughters of Evil’ (consisting of Natasha Malone, Jenessa Michelle Soto and Ariel Ditta). However, along with their new ensemble title, they were also possessed by demons. Decades later, YouTuber Vivian (Taylor Shaye) summons the demonic band back from the dead. Daughters of Evil is drenched in a hybrid swinging-sixties meets satanic-panic horror style. This distinctive aesthetic melts together the vibrant, exuberant rock-n-roll music culture of the time with a brutal, outlandish and, at times, grotesquely brilliant dose of devilish horror. Whilst the in-movie band started as a narrative force, the Daughters of Evil have since risen from the screen and are now a real band with a rockingly nefarious sound.
Dance with the Devil (Directed by Tim Khvan)
This mockumentary follows the geezer-like Father Marcus (Dean Kilby) and his intern Pete (Flinn Andreae), who provide domestic exorcists for the homes of London. Whilst exorcism-themed films tend to have a serious connotation about them, Dance with the Devil is a bonafide rib-tickling horror comedy that stands alongside acclaimed genre mockumentaries such as What We Do in the Shadows (2014) and Wellington Paranormal (2018-2022). There is a particular quirk to Dance with the Devil that makes it so rewatchable. It’s the casualness that the demon-fighting duo have to their rather serious profession, with the pair donning holy water filled water guns, requesting a ‘cuppa upon arrival at the most monstrous of situations, and the darkly macabre yet hilarious quips spoken so naturally by the utterly fantastic leads. If Dance with the Devil is anything to go by, director Tim Khvan has a very exciting filmmaking future ahead.
Easter Eggs (Directed by Lewis William Robinson)
A bizarre and spooky Easter Bunny (Tommy Walton) stalks a young man (Elijah James) who comes across a bundle of chocolate eggs, trapping him in the Bunny’s domain, a hellish, liminal space. Out of all the holiday figures, whether it’s the jolly Saint Nick or Valentine’s Cupid, the most unsuspecting antagonist force is that of the beloved Easter Bunny. However, abandon all happy memories of this furry friend as the director creates a freakish, uncanny, hellraising short that captures the Easter Bunny like never before. The Bunny’s abnormal territory is not what one would expect; instead, it is an oddity that is comparable to the dreamlike works of Lynchian cinema that challenges reality and transports the viewer into an unnatural landscape.
Match (Directed by Victor Basallote)
Bored and unable to sleep, Rachel (Adelaida Polo) takes to a dating app, leading to an accidental match with the possessive Zalir (Vanessa Orrego). Themes of obsession and overbearing domination run a mock throughout this sharp thriller, with Victor Basallote’s capacity to create terror through a minimalistic approach making the chilling atmosphere all the more sinister. Match thrives on a less is more approach where Zalir’s presence is continually suggested rather than overtly shown, creating a film that slowly builds until it reaches a menacing and unforgettable peak.
The Rising of the Sap (Directed by Susie Jones)
Produced by the BFI is Susie Jones’ The Rising of the Sap, a folk horror short following Bea’s (Darci Shaw) unwitting journey into ‘The Rising’ and her mother Elizabeth’s (Joanna Scanlan) fight to stop it. Where this film flourishes is the performances, which work to elevate Jones’ outstanding story following the darkness found lurking within the human condition. As the film unravels, the folkloric elements intertwine with the character study of Bea’s fascinations and Elizabeth’s troubles to create a horror saturated with paranoia, isolation, manipulation and deception. Adding to the thought-provoking narrative is the film’s masterly composition of evocative imagery that is both gritty and visceral yet charmingly sauve.
Five Turns (Directed by Sam Dixon and Sixto Perea Rubio)
The struggling Alyssa resorts to an atypical treatment to cure her condition. However, a caveat states she must only perform the treatment five times. Five Turns is deliberately ambiguous and perplexingly covert, leaving the viewer in the dark until the very last moment, where the bubbling tension and unease reaches a pinnacle peak, resulting in a nightmarish reveal. Directorial pair Sam Dixon and Sixto Perea Rubio join forces to conjure a short horror that has an immense visual appeal, with the rich cinematography combined with the bewitching, electrifying soundscape which fashions a film that is not to be missed.
Puzzle Box: The Glitch (Directed by Jack Dignan)
In 2023, director Jack Dignan released Puzzle Box, a terrifying found footage horror that explored demonic twists and turns under the guise of a claustrophobia-inducing found footage lens. Dignan is now back with a spin-off that utilises the brilliant labyrinth-like structure of Puzzle Box. Puzzle Box: The Glitch follows two friends (Noah Fowler and Elessa Donnelly) whose venture to buy drugs leads to an all-encompassing glitch. The premise of a disorientating, maze-like puzzle that ambushes, muddles and essentially tortures its victims is truly harrowing to consider, let alone be witness to. As the film becomes increasingly convoluted and complex, strong emotions of dread and uncomfortably thrive as the characters experience a situation that is derived from the most startling of nightmares.
You can catch the films Saturday 28th September at this years festival, tickets here!
A-Zhe has a bitter soul (Shang-Ting Chung), continuously cursing others, but when he encounters Mia (Wen-Ling Cheng), a beautiful and mysterious woman, he develops a grotesque appetite for human tongues. The curiously disturbed story of A-Zhe is one of great significance, with director Pearl Zheng basing the film on an urban legend from her hometown.
She notes that she composed this moral tale of A-Zhe’s sour disposition by piecing together a more complex and whole story, with Zheng’s creative zing adding a newfound depth to this nauseating saga of events. Fleshing out the film are the visual effects that provide an immersive experience as we become lured into the bloodied carnage throughout this eclectic and unique short horror.
Wick (Directed by Kayling Taylor)
In Wick, a perilous candle is bound to a young girl’s life, and if the flame is extinguished, she will meet a deadly fate. This gripping tale of cursed embers is fraught with tension and unexpected surprises that reach out and unnerve from deep within. Wick is darkly original, with its ominous and subversive result speaking to the creativity of student filmmakers.
Director Kayling Taylor is not afraid of taking the unbeaten path as the short film continuously throws the viewer through the myriad of unexpected twists and turns that Wick so creatively enacts. The film’s impressive capabilities are made all the more moving at the hands of Taylor’s outstanding directorial efforts, with the young filmmaker being only twelve years of age! With the likes of the unmissable Wick, Taylor is destined for a thriving future in the world of filmmaking.
Strings (Directed by Ava Pearson, Eleanor Smith and Nina Zandvliet)
In a bid to reconnect their childhood friendship, Sally (Calypso Lewis) and Poppy (Coco Jones) venture to Sicily on a dream summer vacation. However, when Poppy’s abrasive friend Alex (Ashton Hunt) joins the trip and creates a hostile dynamic, Sally finds herself becoming increasingly drawn to a lone puppet found at the villa. Strings operates on a less is more approach where implications and subtleties dredge up an intense horrifying energy that enforces the idea that what the viewer is unable to see is far more terrifying than the outward motions of overblown displays.
Underneath the surface, Strings is an examination of the constraints that lurk within coercive relationships, particularly how one’s identity can be clouded or even lost in toxic friendships. This poignant exploration uses the guise of horror and its ability to fashion insightful thematics with chilling, intense displays of eeriness to create a short film that is both meaningful and impactful.
Did You Get That? (Directed by Jude Brownhill)
Budding presenter Ross (Robyn Misha) is having doubts about having nonbeliever Sean (Bob Tapper) as their co-host on their supernatural investigation show. However, hosting dynamics are the least of their concern when they encounter a deadly force whilst investigating reports of a demonic presence known as ‘The Mammon’. Jude Brownhill’s previous credits include the experimental horror short The Lacuna Virus (2022), which showcased Brownhill’s creative flair in horror creation. His latest short feature, Did You Get That? expands upon his ability to stir distinct one-of-a-kind pieces that do not just stand out but also stimulate a sense of expressionism that prides itself on evocative vividness and unexpectedness. As such, what Did You Get That? conveys is a bold, monstrous affair that offers a cinematic insight into the haunting world of paranormal activity.
The format of an on-screen supernatural show is reminiscent of meta-esque filmmaking, allowing no space for predictability as Brownhill scripts in plenty of self-awareness and quips as Ross and Sean film their show. Did You Get That? is a memorable and effective exercise into analogue horror that perfectly balances explorations into otherworldly creatures while grounding itself as a tale of gritty realism.
Next Please (Directed by Eva Bonnevits)
Next Please traverses the intersection between animation and horror, exploring how the infinite capabilities of art-based filmmaking allows for unconstrained and unconventional storytelling due to the medium’s infinite flexibility. The short tackles the dreaded premise of a hellish doctor’s appointment that never ends. Eva Bonnevits’ undeniable talents are brimming with an energy that infuses Next Please with a form of kinetic yet dreaded terror where hyperbolic animations and powerful effects create a film that can only be described as a kaleidoscopic nightmare.
With animated art, anything is possible, which subsequently allows for the results to have no bounds. Next Please thrives within this notion, with every image belonging to a larger series of disturbing stills that form together to create an undeniably unnerving short surrealist film that cinematically represents the terrifying, illogical visions that come from the subconscious psyche.
Dead Body (Directed by J Taylor-Jones)
Dead Body is a soul-gripping, deliberately confrontational and conversational review into an incredibly worthy and critical truth. Director J Taylor-Jones is open about their filmmaking statement, declaring that media is a vessel for them to explore the corporeal, affective processes of personhood that come with being transgender. As such, Dead Body follows a non-binary individual (played by the stellar Andrew Houghton) who must survive the night as they become trapped by an antagonistic presence.
The ominous, metaphorical narrative is complemented by the standout visual palette that is weaponised throughout the film, with the striking crimson lighting melting with the viciously theatrical orchestral soundscape to create an end product that does not just startle and scare but also provokes an introspective reaction that ensures that Dead Body will not be forgotten.
The Bloke in the Boot (Directed by Taylor Caddick)
Northern city boy Mogg (Jude Pollitt) accidentally kills his driving examiner (Stewart James Barham) after a failed test, leaving him to call his lifelong friend Gaps (Oliver Barry-Brook). With a body stuffed in the boot, the pair embark on a road trip to Wales to dispose of the mess. Part situational horror, part traditional British comedy as we join Mogg and Gaps on what can be defined as one of the most stressful types of road trips.
This thoroughly entertaining short acts as an exaggerated imitation of Northern British bonds and colloquialisms, which are built upon by the film’s self-deprecating humour, which is sure to provide belly laughs amidst the dramatic thriller roots additionally explored. Another specificity not to miss is The Bloke in the Boot’s genuinely admirable visual work that displays the grand cinematic views that the UK has to offer. With the brazen duo’s antics, the unapologetically hilarious British cynicism, and the impressive displays of the countryside’s landscape, The Bloke in the Boot is a must-watch for any audience member.
The Journey Home (Directed by Noah Lei Underwood)
The intense voyage of showcasing feelings of dysphoria and monstrosity that The Journey Home takes the viewer on is not to be underestimated. Director Noah Lei Underwood showcases two characters, ‘The Man’ (Louis Norton) and ‘The Creature’ (played by director Lei Underwood), who intertwine to exhibit what it means to feel trapped, caged and ensnared by one’s own flesh.
The film uses facets of nature and surrealism bundled up in a monstrous carcass to create a spectacle worthy of critical acclaim. Here, horror becomes a conduit that employs body horror and its gritty means of fleshy displays of violence to translate the complexity of the trans experience to a wider audience, lending crucial, deserted gravity to a situation that is often overlooked.
You can catch the films Friday 27th September at this years festival, tickets here!
The housebound Francine (Gracie LeClere) is gifted a case of matches by her controlling husband, Sebastian (James Viller), who owns various match manufacturer factories. However, she soon discovers that this gift holds a great curse as a dead girl, Vera (Amy Anderson), is resurrected each time a match is lit.
Britain circa the late 19th century was host to the ‘Matchgirl Strikes’, where the working women from London match factories instigated industrial action against unfair, frankly diabolical working conditions. Mark Patterson’s Strike is set against this monumental moment in history that seems rather fitting for the contemporaneous period. The synthesis of a period piece with a secondary narrative layer of a toxic relationship, combined with a mysterious air of supernatural power, is precisely what makes Strike the dramatic, compelling slice of cinema it is.
Patterson lays emphasis on Francine’s relationship with the controlling Sebastian, with the patriarchal figure stripping any agency away from his wife, isolating her from not just her abilities but also her potential. In a sense, Francine herself is akin to a ghost, with her true self and ability invisible in the eyes of her husband.
The delicate subject is handled with great respect by the stellar casting of both Viller and LeClere, the latter of which added such autonomy to her evolving character. The caveat of Francine’s story is that she is a wheelchair user, which for the tyrannical Sebastian means that he has further hold over his supposed beloved. LeClere herself is an ambulatory wheelchair user, meaning that she could give credence to the tenderness that her character requires.
The layered corpus of Strike explores the aspect of hauntology and how the symbolic presence of a ghostly apparition can act as a figurative vessel. The manifestation of Vera is one of great significance, as Patterson dismisses an archetypal ghostly disturbance in favour of the formation of a meaningful bond between Francine and her newfound, unexpected companion.
Strike distorts what is normally prophecy in terms of supernatural horror, with the film’s surprising story making continuous bold choices – which all collide to benefit and enrich this unmissable, important and stirring horror short feature.
You can catch the film Sunday 29th September at this years festival, tickets here!
Released by HorrorWeb Productions is The Black Quarry, a wild and sinister exploration into the dark side. The black metal band “Drown the Priest” travels to an abandoned quarry to shoot a music video as intense as their signature hardcore sound.
Unbeknownst to the band members, the lead singer has menacing motivations for using the defunct space as the location. However, what lurks beneath the quarry proves to be more malevolent than his twisted intentions.
This featurette serves as proof that director Corey Jason Trahan’s passion for all things horror and rock is no exaggeration as this epic and fiercely savage film is a whole experience. The Black Quarry hones in on its irreverent tone, with the absurd extremity of the characters and plot laying down a darkly humorous undertone that allows for the gritty, gnarly horror to glare through in devilishly rogue waves.
It would be sinful not to mention the practical effects that are straight out of a vibrant, bloody and graphic splatter B-movie from the 1980s – in the best way possible!
The film is host to a whole smorgasbord of gory effects that range from brutal face-pulls, decapitations and neck slits, all of which are brilliantly stomach-churning as the viewer is a witness to a whole bunch of sinew-showing, blood-spurting, entrail grabbing barrage of squeamish fun. To indirectly quote Drown the Priest guitarist Devon (Zach Beesley)- it is “metal as fxxk”.
You can catch the film Sunday 29th September at this years festival, tickets here!
Fear Cabin: The Last Weekend of Summer does not simply toy with expectations with a horror-cum-cabin fright fest. Instead, it completely dismantles and excitingly remixes events, creating a wild ride that goes full throttle from beginning to end.
A motley crew of friends head out to a remote cabin in the woods for a weekend of fun, drinking and standard debaucheries; however, the trip soon turns far from ordinary when the group begins to experience a world of terror as an unexpected guest joins them.
Director Brian Krainson delivers a pure, bone-chilling tale that offers a lineup of assorted frights, from ghouls and entities that create bumps in the night, all the way to displays of witchcraft and devilry that mingle to summon a dense, sinister atmosphere that unleashes bouts of havoc throughout the deadly weekend trip. Ultimately, the film’s acts of portrayed evil acts as pathways for the various motifs to rip through and percolate the unsettling rhetoric. Whilst the film’s spirit is rife with a nexus of intricate themes such as survival, isolation and fragility amidst moments of ghostly fear and so forth, what Fear Cabin: The Last Weekend of Summer ensures is that it does not become excessively heavy with all of its dense threads.
Although the jolting horror antics take centre stage throughout the film, Krainson infuses touches of light humour and strong writing to balance the grave velocity of what is at play throughout the narrative. It’s for this reason that the characters remain multidimensional rather than just channels for horror to seep through. Accordingly, the film builds upon the robust character arcs that surface from the group’s dynamic, with the escalating sense of panic and dread fueling waves of tension as the reality of the horrifying situation evolves and reaches a menacing peak.
The suspenseful flow of mystery is made all the more ominous on account of the cabin setting, which almost becomes a character within itself. The quiet backdrop of a rural cabin immediately forbodes in response to how the solitude of isolation can highlight an uneasy hostility. For instance, as the haunting antics unravel, the group grapple with the vulnerability that such a remote setting in tune with nature and all of its dark history provides. There is no immediate safety net outside of a typical suburban brick-and-mortar, and classically (but nevertheless still spine-tinglingly sinister), no one can hear you scream!
Fear Cabin: The Last Weekend of Summer is a fresh take on a beloved haunted cabin story that pays homage to the quintessential beauty of eerie, lodge-based horror but with a distinct, innovative flair that speaks to Krainson’s stellar filmmaking capacities. The film’s nuanced approach has great fun in pulling the plug and wiping away what we expect, alternatively delivering high-impact, unexpected thrills that both provide ample shrieks as we jump during startling moments, as well as experience lingering spells of dread and horror, akin to a troubled haunting that has the ability to stand the test of time.
You can catch the film Friday 27th September at this years festival, tickets here!
The Blair Witch Project opens with the infamous title card announcing the disappearances of three student filmmakers. What follows is the discovered footage of what went on during the fatal trip, culminating in their mysterious and unexplainable vanishings. Legend has it, the trio’s bodies have never been found…
In 1993, film students Daniel Myrick and Eduardo Sánchez began to recognise a pattern – they found documentaries on the paranormal far surpassed the fear factor staged by traditional horror cinema. After years of passing the idea of a scripted supernatural documentary around, they (along with Gregg Hale, Robin Cowie and Michael Monello) started the production company ‘Haxan Films’, which, for those who picked up on this detail, yes, Haxan comes from the infamous docu horror Häxan (1922).
With the production company garnering a small money pot from producing corporate and commercial videos, the crew set ahead to get the ball rolling on the long-awaited pseudo-documentary. The premise of something strange, dark and mysterious being real, particularly within its presentation, is terrifying.
Fiction is escapable and, more often than not, non-threatening past the screen. However, the immersive, replicative, and first-hand perspective of vérité cinema can provoke the viewer to suspend their belief and mediate reality into the fictitious narrative. Whilst the contemporary commonality of reality-coded horror falters the chances of the cinematic events being perceived as real, in 1999, this was groundbreaking and convincing to audiences. As such, Myrick and Sánchez weaponised the diegetic camera brilliantly utilised by previous filmmakers such as Shirley Clarke, Ruggero Deodato and Satoru Ogura and created one of the most infamous horror movies of all time.
At the start of production, the focus characters, Heather Donahue (now Rei Hance), Michael C. Williams and Joshua Leonard, were all informed that this was not an archetypal experience. The screenplay was 35 pages long, but the content was more stage directions, with the directors opting for the dialogue to materialise from improvisation. The footage was primarily shot by the three characters on a Hi8 camcorder, enhancing the amateur feel and consequently embedding the sense that these personalities on screen are genuinely filming a documentary. Further detaching the cast from the facets of their actions belonging to a broader project is the actions of genuine contention arisen by the crew behind the scenes.
As the actors would essentially be left alone to record the loose script, the cast would be given clues as to where their following location would be via secret messages located inside 35mm film cans. This would often lead to the trio becoming lost and hostile with one another about their directions. A few of these squabbles were left in the final cut of the film but cut around to match the context of being lost amidst the horror of the plot. The directing duo would also make the characters traverse extensive journeys throughout the day, heightening the already low mood and making them irate. As one last push to both blur the lines of fiction and reality and weaponise what the filmmakers coined ‘method filmmaking’, when the night drew close, and the cast could unwind, the crew would show up unannounced and play creepy pranks, all before whittling down their food supply each day.
The sick, twisted, and undoubtedly cruel tactics resulted in raw footage that, regardless of the scripted mythos of witchery, was an authentic portrayal of people reaching the brink, hitting their peak and unleashing wraths of turmoil and anger over the dreaded scenario. With such a defiant approach to achieving the filmic goal, it is no surprise that the immediate reception was primarily one of praise, with many outlets applauding the innovativeness and ‘less is more’ approach towards the antagonistic force.
On the other hand, the media also reported on the buzz the film received at its premiere at the Sundance Film Festival (1999), where audience members were fainting and vomiting at the dizzying handheld, motion-sickness-provoking cinematography. However, as any horror fan knows, festival drama and antics over the gruesomeness of horror is a good sign of quality gnarly, horrid and shocking filmmaking. As the film’s now notorious reception was building, a secondary force of conversation was budding amongst audiences.
A key detail in The Blair Witch Project’s reputation is its marketing campaign. Prior to the premiere, the film launched a website which featured fake police reports and newsreel-esque interviews seeking to find the ‘missing’ students. However, the most ‘alarming’ snippet showcased a missing poster of Heather, Michael and Josh, complete with the standard height, age and weight typical to a genuine missing person flyer.
It was one thing that the film purported its diegesis to be one of pure authenticity, but if there were any ‘unconvinced’ spectators were not buying the ‘truth’, Myers and Sánchez would keep up the act off-screen, pretending that the film’s festival screenings were motivated by wanting to get the message out there about the disappearances; even going as far to distribute print outs of the missing poster to audience members. The final flourish regards how the official IMDB page listed the performers as “missing, presumed dead”! Although the internet did not have the colloquial sharing aspect nailed to a fine art in terms of sharing and speculating as it does today, the film managed to go ‘viral’.
It took Myrick and Sánchez seven years from the initial idea to the premiere at Sundance, proving that whilst independent cinema can involve intensive labour that is a marathon, not a sprint, indie horror can turn passion and creativity into payoff. In the last twenty-five years, The Blair Witch Project’s reputation is still thriving, with the film spawning comic books, video games and two sequels, Book of Shadows: Blair Witch 2 (2000) and Blair Witch (2016), as well as an array of parodies, including the criminally underrated Scooby Doo Halloween Special – The Scooby Doo Project (1999).
What comes with such notoriety is a sense of familiarity. Even if a non-horror fan were to come across imagery from the film, they would immediately recognise where the callback originated. It could even be said that those who have never seen the movie can distinguish the continuous references made to the film in pop culture. Think of the infamous extreme close-up of Heather trembling with fear, looking straight into the lens, essentially saying her goodbyes, or the shot of Mike standing, staring at the wall as if in a trance, with Heather screaming bloody murder in the background.
The Blair Witch Project is akin to a landmark, standing proudly in a brimming genre, with its history and legacy granting it a place against all of the greats before and many of the classics yet to come.
You can catch the film Friday 27th September at this years festival, tickets here!
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