Acclaimed director, Ryan Coogler, has established a reputation for delivering heartfelt, brutally honest drama’s that infuse a passion for social commentary alongside entire world-building stories that force the viewer to feel that the narratives exist outside the platform of the film and live in the real world. Whilst Coogler has also cemented a similar hyped fan base in the Marvel world thanks to his ‘Black Panther’ contributions, his rich filmmaking process thrives in the likes of the brilliant ‘Fruitvale Station’ (2013) which showcases depth, vulnerability and power with a culturally rich lens. Coogler’s new film ‘Sinners’ epitomises all that the director has worked with throughout his career, leading to a result that cements his place as an exciting, creative and powerful creator, who (judging by Sinners) has the potential to be a standout horror director.
Sinners sees identical twins Smoke and Stack (both played by Michael B. Jordan) return to their hometown of Clarksdale, located in Deep South Mississippi, where they plan to open a ‘juke joint’ using stolen money. However, their hopes of escaping trouble and creating a haven is extinguished when sinister vampires infiltrate and bring ruin.
Vampirism in cinema is by no means a recycled trope. It can be generally agreed that there are a handful of films that emulate a rinse and repeat of one another with nothing riveting to add, however, on the whole, vampire themed horror films remain some of the most entertaining, promiscuously wicked to watch pieces of creature-based fiction. And despite the fact that vampires have been tried and tested in nearly every setting, character, theme and so forth, Sinners manages to structure the fanged-predator monster in an entirely fresh light. The antagonistic beasts throughout the film radiate a level of threat and terror that burns deep, surpassing the fear of death and intrinsically igniting a deep sense of menace to the community in Sinners.
In the interest of avoiding spoilers and keeping the secrets of Sinners intact, what can be revealed about the vampires is their strange affinity to music, which Coogler uses as a repeated metaphor throughout. The design of the vampires themselves are alluring yet creepy, particularly during scenes of pandemonium and bloodshed where the villains glow with red fury. But what is not to be underestimated is how the vampires drain not just blood, but the culture, humanity and identity of the living around them. Sinners takes place during the Jim Crow era where racial segregation, discrimination and oppression devastatingly ruled America.
Sinners exploration of systemic and historical prejudice is a theme that cannot be easily decoded as the level of its infusion runs deep throughout the bones of the film in a variety of ways, whether that be through the allegory of vampires representing the takers of freedom and will, the featuring of the Smoke and Stack’s juke joint being a haven that is encroached upon, or the parasitic nature of the film’s evil forces. In many ways Sinners is worthy of many rewatches, with each screening revealing the multitude of layers that Coogler threads throughout.
This same rawness and tonality of the symbolism is further enhanced by the film’s emphasis on the soundtrack, which acts as a keynote throughout. Music plays the role of a lead character, with its inclusion being a catalyst for many of the vital story beats. Besides being
brilliantly entwined with the characters and their relationships to the world, the music is incredibly haunting, textured and intense. The weaponisation of the sound relies on its affinity to the blues and its unrefined aura that comes from a place of soul and experience rather than enacting polished vocals and highly-processed instrumental work.
To crown it all are the performances which are all equally emotionally charged with an aura of authenticity, elevating the roles to possess a level of palpable tension. Notably, the work from Jordan, followed by Hailee Steinfeld, Jack O’ Connell, Miles Caron, Wunmi Mosaku, Delroy Lindo and Li Jun Li together form a troupe that speaks to the affective integrity of Sinners; essentially propelling the film to be the compelling and thought-provocative piece that it is.
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Josh caught up with Megan Tremethick in March about Hex Studios/British Horror Studio’s latest film, The Reign of Queen Ginnarra, a gothic horror-fantasy which premiered at Romford Horror Festival in the UK on March 1st, with the title character played by Megan.
Can you tell us a bit about The Reign of Queen Ginnarra and what audiences can expect from the film?
The Reign of Queen Ginnarra is a gothic horror fantasy that takes audiences into a world where faith, power and madness blur into something terrifyingly real. It is an operatic, character-driven epic inspired by the grandeur of Excalibur and the political intrigue of I, Claudius but with a much darker, Lovecraftian edge. At its heart, it is a psychological descent wrapped in a medieval war film.
It follows Queen Ginnarra, a ruler consumed by visions and an unshakable belief that she has been chosen by dark gods. As she tightens her grip on the throne, her exiled brother Elderon is forced to return and confront the sister he barely recognises. Their battle is not just for a kingdom but for reality itself, as Ginnarra’s unchecked devotion leads her down an apocalyptic path. Unlike many modern fantasy films, The Reign of Queen Ginnarra does not romanticise its world. It drags you into its bleak, mystical depths and challenges you to navigate the madness alongside its characters.
What drew you to the role of Queen Ginnarra and how did you prepare for it?
I was drawn to Queen Ginnarra because she was a character unlike any I had ever had the opportunity to play. I felt nervous at the thought of portraying someone with such a cold, callous exterior. Would I even be able to? I had always played characters who were full of emotion. But I pushed through and soon felt excited by the challenge. Ginnarra was a woman who had done despicable deeds, yet she fascinated me.
To prepare, I had a lengthy conversation with writer and director Lawrie Brewster about Ginnarra’s rise to power and how she became queen, which kept me grounded in her reality during filming. I also researched powerful and formidable rulers, particularly Queen Elizabeth I. In addition, I looked into the psychology behind cult leaders to understand what methods of manipulation Ginnarra may have used and which abilities she gained through the dark gifts bestowed upon her by the mysterious gods, The Old Ones.
Gothic horror has such a rich history. How does this film pay homage to the classics while bringing something fresh to the genre?
For me, gothic horror is a concoction of grandeur and decay, where power, faith and human fragility give rise to tales of obsession, tragedy and the supernatural. The Reign of Queen Ginnarra draws from that tradition, embracing the tragic figures, oppressive atmospheres and psychological intensity that define the genre. It has the gothic intensity of classic Hammer Horror, the unsettling brutality of Ken Russell’s The Devils and the otherworldly unease of Excalibur. At the same time, it brings something new by blending gothic horror with dark fantasy and cosmic terror.
Lovecraftian horror is rarely explored in a medieval setting, but here, it festers beneath the surface of the story. Instead of supernatural horror confined to haunted castles, the entire kingdom becomes a place of creeping dread and inescapable fate, where reality itself bends under the weight of Ginnarra’s belief in the dark gods. Unlike many modern fantasy films, The Reign of Queen Ginnarra does not indulge in heroism or grandeur. It strips away any sense of adventure and replaces it with psychological torment, stark brutality and an ever-present sense of doom. In that way, it both honours and reshapes gothic horror, delivering a world that feels both eerily familiar and yet mysterious.
What was the most challenging or rewarding part of portraying the title character?
The most challenging part of playing Queen Ginnarra was probably that in many of her scenes, especially in the throne room, she remains a still, silent presence as her subjects inform her of events occurring throughout the kingdom. She says very little, yet she is always watching, always listening. When an actor plays a role like this, there is a temptation to rely on larger reactions or stronger facial expressions, anything to feel like you are “doing enough acting” in the scene. I knew that if I took Ginnarra in that direction, however, I would instantly kill any sense of mystery or intrigue surrounding her. Instead, as guided by the script, I made sure to be as disciplined as possible, showing as little emotion as I could in these moments so that the audience would be left trying to read her. Once I felt confident in this choice, executing it during filming became one of the most rewarding parts of playing Ginnarra. Discipline can be satisfying.
How did your collaboration with Hex Studios British Horror Studio come about?
My collaboration with Hex Studios British Horror Studio began in an unexpected way. I first backed their Kickstarter for The Black Gloves. At the time, I just admired their work, drawn to their unique style of filmmaking. A few years later, I met the team in the British Pavilion tent at the Cannes Film Festival, which was surreal after having followed their films for a while. That meeting led to an audition for the role of a black-clad assassin in one of their projects, which I landed. From there, I kept working with them and the rest is history.
What do you think makes Hex Studios stand out in the indie horror scene?
What makes Hex Studios stand out in the indie horror scene is how grassroots it is. It is not just a production company, it is a growing community of independent creatives at all experience levels, coming together to make bold, original horror films. Unlike many indie studios that rely solely on external funding or industry connections, Hex is actively building its own network of supporters who are genuinely passionate about the work. They engage directly with their audience, whether through crowdfunding, exclusive behind-the-scenes content or opportunities for new and emerging creatives to get involved. This is through their free to join Patreon page, and I’d definitely recommend creatives who are interested in what we do to join it. It is rare to see a company so committed to cultivating a movement around independent horror, not just making films in isolation. That dedication makes their projects feel genuine and artist-driven, and it is a huge part of what makes working with them so special.
Are there any other exciting projects in the pipeline that you can tease?
I have a lot of exciting projects in the works right now, and I can’t wait for people to see what’s coming next! One of them is Spoiling You, an ASMR horror film that uses sound, silence and psychological tension to create an unnerving experience. It’s inspired by the eerie, slow-building dread of classic J-Horror, particularly the work of Takashi Miike’s Audition and Sion Sono’s Suicide Club. The way those films draw audiences in with quiet intimacy before spiralling into full-blown terror has had a huge influence on this project, and I think horror fans will find it deeply unsettling in a way they might not expect. Spoiling You also stars Laurence R. Harvey, known for his unforgettable performances in The Human Centipede films.
I’m also involved in Black Chariot, a project that’s shaping up to be something really special. It’s a dark, atmospheric film with a unique vision, and I’m thrilled to be part of it. Like Spoiling You, it also stars Laurence R. Harvey, adding his signature unsettling presence to the film.
Then there’s In The Grip of Terror, a horror anthology with a truly historic significance as it is the first Amicus Production in over 20 years. Amicus is legendary in British horror history, and to be part of the studio’s return is an incredible experience. The film brings together some seriously chilling stories, each with its own distinct style and eerie tone. It also features an amazing cast, including Laurence R. Harvey and Golden Globe nominee Jane Merrow, whose work in classic genre films makes her the perfect fit for an Amicus revival.
On top of all that, I’m incredibly excited about For We Are Many 2, the upcoming sequel to British Horror Studio’s cult anthology For We Are Many. This time, I had the chance to step behind the camera and direct three short film segments, which was an amazing experience. I’ve certainly ‘caught the bug’ for directing, and I can’t wait to see how audiences respond to the shorts. It’s a really exciting time, and I feel lucky to be working on so many different kinds of horror projects.
As an actress and filmmaker, what draws you to horror and particularly gothic horror?
I’ve always been drawn to horror, particularly gothic horror, because it so often offers rich, complex characters that are a joy to play. The genre embraces mystery, intensity and psychological depth in a way that allows actors to fully immerse themselves in their roles. Gothic stories in particular seem to create mysterious, enticing characters who are layered with drama, tragedy and intrigue, which makes them incredibly fulfilling to portray.
There’s also something about the romance and melancholy of gothic horror that fascinates me. It’s a genre that blends the beautiful with the unsettling, often weaving together love, obsession, grief and the supernatural in a way that feels timeless. From a purely visual perspective, period-set gothic films are breathtaking. The stunning locations, elaborate costumes and atmospheric cinematography all add to the immersive experience, making it even more exciting as an actor.
As a director, I’m just as excited by gothic horror as I am as an actress. The genre has such a rich history and stylistic potential, and I would love to explore it even more deeply in future projects of my own. The combination of heightened emotion, visual storytelling and psychological depth makes it an endlessly fascinating space to create in.
Do you have any personal horror inspirations—actors, directors or films that shaped your love for the genre?
For Spoiling You, the directors who inspired me the most are Sion Sono and Takashi Miike. Their films are masterful at building suspense, often lulling the audience into a false sense of security before delivering shocking moments that feel both earned and deeply unsettling. What I admire most about their work is their ability to explore deeper themes, whether it’s trauma, obsession or human depravity, while still leaving room for nuance and interpretation rather than spelling everything out. That balance between visceral impact and intellectual depth is something I aim for in my own work.
When it comes to horror actresses, I have immense admiration for Ingrid Pitt, especially for her role in Countess Dracula. She had such a commanding screen presence – seductive yet terrifying – and brought a real sense of tragic depth to the role. At the same time, she kept an element of fun, fully embracing the camp and theatricality of classic gothic horror. Charlotte Rampling is another major inspiration, particularly for her performance in Asylum, the classic Amicus horror anthology. She has a way of portraying characters who feel haunted, complex and psychologically unravelled, bringing a quiet intensity to the screen that lingers with you.
Her ability to convey inner turmoil with subtlety is something I find fascinating in psychological horror. Deborah Kerr in The Innocents is another standout. Her performance is so emotionally raw, and she captures the slow unraveling of a woman questioning her own reality with incredible precision. For a more modern inspiration, Mia Goth is someone whose work I deeply admire. She brings an unfiltered intensity to her performances, and her ability to navigate between fragility and full-blown madness, as seen in Pearl particularly, is nothing short of mesmerising. She’s fearless, and that’s something I strive for in my own approach to horror.
What’s your dream horror project or role? My current dream role would be to play a gothic heroine in a period-set psychological horror. A woman trapped in an isolated, crumbling estate where secrets lurk in every shadow. Whether she is being haunted by spirits or by her own unraveling mind, her world teeters on the brink of collapse, both physically and psychologically. I love the idea of a character who is intelligent, emotionally complex and deeply flawed yet resilient. She would navigate a story filled with dread, mystery and slow-burning terror. Something in the vein of The Innocents, Rebecca or The Others, where atmosphere and performance drive the horror just as much as the supernatural, if the horror is even supernatural at all.
The Reign of Queen Ginnarra just premiered at Romford Horror Festival – how was the experience? The Reign of Queen Ginnarra premiere at Romford Horror Festival was an unforgettable experience! One of the biggest highlights was getting to spend time with the amazing team at British Horror Studio, including Lawrie Brewster and Sarah Daly, both co-owners of BHS, as well as my Queen Ginnarra co-stars Dorian Ashbourne and Novarro Ramon. I also had a great time with our brilliant production assistant Oliver Revie, who has, without a doubt, the darkest sense of humour known to man.
It was also wonderful to catch up with the amazing festival organisers, Spencer Hawken and Natalie Bays. Spencer is leading the incredible Lumiere project, which will transform the former Premiere Cinema in Romford into a dynamic entertainment venue. The vision behind Lumiere is truly exciting as it will showcase a mix of mainstream, independent and classic cinema, live performances and community-driven events, creating a fresh alternative to traditional cinemas. Seeing how much passion is going into this project is so inspiring!
Another highlight was meeting so many fantastic actors and filmmakers from the British independent scene, some of whom I had never met before. And of course, it was a joy to see The Reign of Queen Ginnarra on the big screen with a festival audience! To make the screenings extra special, I also performed a live monologue in character as Queen Ginnarra before each showing – which was a bit nerve-wracking but a lot of fun!
Overall, it was an incredible festival, and I feel so grateful to have been part of it!
How important do you think horror festivals are for independent filmmakers and actors? Horror festivals are essential for independent filmmakers and actors. They provide a space where creativity thrives, and indie horror can connect with passionate audiences who truly appreciate the genre. More than just screenings, festivals foster a strong sense of community where filmmakers and actors can form lasting collaborations and support each other’s work. Indie filmmaking can be isolating, but horror festivals remind us that we’re part of something bigger. These events also help actors and filmmakers build their own audience, people who will follow their careers, engage with their work and champion independent horror. Horror fans are loyal and invested, making festivals the perfect place to grow as an artist. For anyone in indie horror, festivals aren’t just opportunities. They’re homes for creative risk-taking, connection and artistic growth.
What do you hope audiences take away from The Reign of Queen Ginnarra?
I hope audiences come away from The Reign of Queen Ginnarra feeling like they have experienced something operatic and uncompromising. This is not a story about heroes and villains in the traditional sense. Ginnarra is ruthless, terrifying and absolutely convinced of her own divine purpose. But while she is undeniably evil, the world around her is just as treacherous. No one is innocent, and I want the audience to constantly question who they can trust. Loyalties shift, motivations remain hidden, and even those who oppose Ginnarra may have their own dangerous ambitions.
It goes without saying the entire selection for this years fest deserve recognition for their talents as film makers and artists. So narrowing this down to just a handful of award winners has been extremely difficult for this year’s judges panel!
With that said, lets take a look at all the incredibly deserving award winners from the 2024 Dead Northern Horror Film Festival!
Best Feature Film – Kill Your Lover
Directing duo Alix Austin and Keir Siewert delivered a gnarly, grotesque, and emotionally raw feat of tainted love, where body horror and a cerebral narrative collide together to create the must-see ‘Kill Your Lover’.
From the initial setup right up until the credits begin to roll, the entire film is slick with an uncomfortable sense of intimacy. Intimate through its nature of chronicling a toxic relationship. Intimate through its portrayal of up close and personal graphic body horror, and intimate in how it feels as if we have been positioned to voyeuristically gaze like a fly on the wall as Dakota and Axel experience the terrifying motions of their damning monstrosity.
Kill Your Lover is a standout feature and deserving winner that speaks to the creator’s exhilarating storytelling talents. From Austin’s incredible short horror ‘Sucker’ (2022), to Siewert and Austin’s team effort on the anthological entry ‘It’s Inside’ in Isolation (2021), it is a sure thing that this duo is one to watch.
(Directors Alix & Kier celebrating along side Cinematographer Oscar Garth)
Dead Northern Award (Best northern Submission) – All This Time
Writer and director Rob Worsey delivered a standout, complex and thought-provoking second feature that, alongside his zombie-themed feature debut, Among the Living (2022), proves that Worsey is a talent to be watched.
The film dabbles in equal amounts of trepidation, theatrical drama, and gothic horror to form an unholy trinity of emotively triggered fear. For instance, as we see Grace come to terms with the disturbed histories that lie in wait, not once does the film become gimmicky in its scares; instead, bouts of unease are stirred, and waves of darkness are weaponised, collectively espousing a film that is as tonally rich as it is visually impactful.
Worsey’s uncanny ability to stir tension and assemble well-crafted scares that linger like a troubling night-terror are at an all-time high throughout All This Time – A worthy winner of the Best Northern submission to the 2024 fest.
(Writer & Director Rob Worsey, Producer Kate Worsey with cast members Emily Rose Holt and Lyndsey Craine)
Best International Feature Film – The Stickman’s Hollow
The Stickman’s Hollow resembles a multifaceted labyrinth, feeding its complex story bit by bit, acting like a serpentine. It is the slow feed of a terrifying story, the intricate weaving of eerie details and the intimate mode of filmmaking that make this found footage horror unmissable and the jury’s top international submission for 2024.
Composing the heart of the film is all of the plentiful mystery, mythology and lore, which is made all the more effective due to its detailed backstory. The Stickman’s Hollow is based on a chilling true story from Director Jack Cox’s childhood of girl who became lost in the local Vancouver woods. And the story goes… the lost child was presumed to be dead, but after a year had passed there were reported sightings of a feral child roaming the forest and eating the remains of animal carcasses. Found near the spotted sightings were strange carvings of male figures, which all point to sinister misdeeds.
Whilst The Stickman’s Hollow is a fictional story, Cox based the tale on the countless, spine-chilling questions that arise when one thinks of a story of such calibre. What happened to the missing girl? How did the carvings come about? And why do missing persons cases in the backwoods go unsolved? Fictional or not, this is nightmare fuel!
Amplifying the intensity is the fact that the filming location is that of where the backstory occurred, conjuring a level of dread that is often difficult to capture on screen. Adding to the unease felt is the film’s found footage fashion that immediately immerses and stirs a level of uncomfortable immediacy. The suspense brought forth, the anxiety formulated and the foreboding alarm mould together throughout this noteworthy expedition into The Stickman’s Hollow.
Unfortunately the team couldn’t make the fest but look out for our interview with cast an crew coming soon to our socials and YouTube channel!
Best Short Film – Skulk
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…
This masterfully delivered short won over the jury with it’s fantastic performances, downright creepy cinematography and perfect delivery of horror.
Fresh Meat Award – The Bloke in the Boot
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 stood out to the jury this year as an immensely talented group of filmmakers to keep your eye on.
(Cast member Jude Polllitt-Berthereau & Director Taylor Caddick celebrating their win on the Sunday of the fest)
Best Cinematography – The Rising of the Sap
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 suave and ultimately became the panel’s favourite for Best Cinematography of 2024.
Congratulations to the team and particularly Paul Mortlock – cinematographer on the production.
Best Performance – Becca Hirani – The Monster Beneath us
Bursting with tales of losing control and challenging reality, all entwined with a hint of familial trauma and ladened with a haunting gothic aesthetic that bodes stunning imagery and a grippingly tense atmosphere is Sophie Osbourne’s The Monster Beneath Us.
The Monster Beneath Us’ cunning ability to rouse great terror inch by inch is a testament to the film’s sundry charms, from the evocative performances and the thoughtful milieu of designs that echo the time period all the way through to the atmospheric soundscape that conspires with the harrowingly toned cinematography
Becca Hirani’s performance as Lady Grace Abbington captured the Jury’s attention for her fantastic portrayal of a mother consumed with grief and loss.
(Becca posing with her award on the Sunday of the fest)
Best Supporting Performance – Ellen Jane Thomas – Scopophobia
Scopophobia’s female driven cast with fleshed out, complex characters, gnarly (and unbelievably gory) practical effects, powerful scoring, immensely captivating visuals and directorial dynamics all amalgamate together to create one hell of a horrifying and wicked elixir pot that is a testament to the brilliance of independent horror filmmaking.
It’s within this elixir pot we see an outstanding performance from Ellen Jane Thomas as Mia!
(Ellen celebrating the win at the Dead Northern Awards party)
Best Special Effects – Black Hole Barry
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.
It was the uniquely designed demon that grabbed the attention of the Jury for this years special effects award!
(The Black Hole Barry team grabbing a photo before their screening at the fest)
Bloody Good Death Award – Little Brown Bird
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.
Without spoiling this fantastic film there is a whole bunch of gnarly kills that stood out to the jury and left us thoroughly entertained!
(Director Peter Rogers with his newly won trophy)
That’s a wrap on Dead Northern 2024, see you again next year!
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Beetlejuice first graced our screens in 1988 establishing a whacky and absurd world which introduced many of us to director Tim Burton’s unique visuals and infamous filmmaking style. Now, 36 years later, a sequel to this timeless, cult classic promises to recapture the magic of the original and reimagine it in the modern world. Beetlejuice Beetlejuice centres on a now grown up Lydia Deetz (Winona Ryder) as she navigates both her supernatural abilities and her role as a mother.
We meet Lydia’s daughter Astrid Deetz (Jenna Ortega) and learn of their strained relationship whilst appearances from Beetlejuice alumni Delia Deetz (Catherine O’Hara) and the demon himself – Beetlejuice (Michael Keaton) are also welcomed. Much like the original, Beetlejuice Beetlejuice blends the humorous with the horrific and takes us on a journey filled with nostalgia and theatrics aiming to raise the stakes in an action packed sequel.
As Beetlejuice Beetlejuice opens we are reintroduced to Lydia Deetz. Once a moody, misunderstood teenager Lydia now uses her talents to contact supernatural beings who inhabit or haunt the homes of unsuspecting home-goers. A death in the family (Lydia’s father Charles) brings Lydia back to her estranged daughter Astrid. With the two reunited we learn that their complicated relationship stems from the death of Astrid’s father, and Lydia’s refusal to talk about it. This caused a rift which was further splintered when Lydia pursued ‘Ghost House’, a television show which publicises her abilities; Astrid does not believe in ghosts and thinks the show capitalises on people’s vulnerability.
One obvious observation of this relationship is that it is reminiscent of the relationship Lydia had with her parents – specifically her stepmother Delia – in Beetlejuice. Both of these family dynamics are caused by the separation from a loved one and it is Lydia’s endeavour to save Astrid from the Netherworld that makes her realise that she has ‘spent too much time talking to the dead [and] it’s time [she] started living’. Beetlejuice Beetlejuice explores the relationship between life and death using Astrid and Lydia to portray the importance of processing grief and the consequences it can have on families if left to fester.
(Blavity, 2024)
Since its groundbreaking release in the 80’s, Beetlejuice has been a constant source of inspiration for all mediums of art. Notably a musical adaptation of the horror comedy in 2019 took the Broadway stage by storm, retelling Burton’s bizarre story through the use of upbeat songs and flashy dance numbers.
Beetlejuice Beetlejuice has taken a cue from the world of theatre and uses music and dance to elevate the storytelling in this sequel. It is always risky introducing musical theatre into an existing franchise – but Beetlejuice is no stranger to a song and dance. Arguably the most famous scene from the original movie is the dinner party dance scene where Charles and Delia Deetz and their guests are possessed and forced to perform to Harry Belafonte’s Day-O (Banana Boat Song). Considering the popularity of this particular sequence as well as the love for the musical adaptation, it was no surprise that Beetlejuice Beetlejuice leaned into its musical potential.
Perhaps the most captivating musical number from this movie occurs when Beetlejuice crashes Lydia’s wedding, and demands she marry him after he aided her in rescuing Astrid from the Netherworld. Set to Richard Harris’ ‘MacArthur Park’ the church becomes a stage on which a strange yet mesmerising song and dance sequence ensues. Both the characters on the screen and the viewers in the audience are possessed by Beetlejuice and encouraged to surrender themselves to Burton’s whimsical and nonsensical cinematic world.
The music also gives the Netherworld a 70s makeover making use of The Bee Gees’ ‘Tragedy’ when we are first introduced to Beetlejuice’s ex-wife and immortal enemy Delores (Monica Belluci), and showcases the ‘Soul Train’ which takes the deceased – dressed in 70s attire and disco dancing – to the great beyond. This decision maximises nostalgia as fans of the original likely grew up during this decade.
(Deadline, 2024)
Beetlejuice Beetlejuice lives up to the reputation of the original by perfectly blending heartfelt, family sentiment with ludicrous and at times unhinged comedy. It gives us an opportunity to revisit characters we loved from Beetlejuice and presents us with new characters who allow us to venture deeper into the ever-expanding cinematic universe that Tim Burton has created. Furthermore the sequel manages to uphold the visual and atmospheric aesthetic first established in Beetlejuice but presents it in a modern society; one we are all familiar with. Overall Beetlejuice Beetlejuice embraces the strange and unusual by combining nostalgia with the contemporary role of the outcast, and using music to encourage people to unleash their authentic selves.
Hope Lelliott-Stevens
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We’re thrilled to announce that Mad About Horror will be an official sponsor of our Film Festival event in York 27th – 29th Sep 2024!
Mad About Horror are the leading online retailer in the UK and Europe for specialist horror masks and collectibles. As the largest official European retailer of Trick or Treat Studios, they bring the latest US releases to the UK and Europe, offering a wide array of masks, collector’s items, and replica props.
In addition to their partnership with Trick or Treat Studios, Mad About Horror showcases a vast selection of leading collectible brands including NECA, Mezco and Sideshow as well as niche brands such as Black Heart Models, Pallbearer Press, Infinite Statues.
They also have a huge range of Halloween animatronics, masks and decorations. Renowned for sourcing the latest Halloween props and animatronics from the US, Mad About Horror pride themselves on retailing items that are rarely available this side of the pond.
With an extensive product range specialising in all thing’s Horror and Halloween, Mad About Horror serves as the ultimate one-stop shop for horror fans. Their passion for the genre is evident in their commitment to staying up to date with latest releases and engaging with the horror community.
Looking to bring the thrill of the big screen home? Explore their Horror-movie section, featuring a wide array of collectibles, officially licensed masks, and an exclusive selection of Waxwork Records for soundtrack enthusiasts. Whether you’re expanding your horror collection or hunting for the perfect gift, Mad About Horror has everything you need to recreate the cinematic horror experience.
New horror instalment from directing duo Matt Bettinelli-Olpin and Tyler Gillet sees a group of unscrupulous criminals brought together to carry out the carefully plotted kidnapping of a billionaire’s daughter and subsequent blackmail for ransom. The power play quickly changes however once the group discover that they are in fact victims of a game orchestrated by an unlikely puppet master.
Bettinelli-Olpin and Gillet are well known for their original horror concepts which combine vivid scenes of violence with a comedic overtone; to this, Abigail is no exception. The movie follows the group as they are plunged into a fast-paced game of cat and mouse and amongst the carnage, comedy and ballet, portrays a modern twist on the traditional vampire sub-genre.
(Screenrant, 2024)
One stand out element from Abigail was the homage paid throughout to Tchaicovsky’s ballet Swan Lake. Abigail (Alisha Weir) herself, whilst dressed in a feathered tutu, provides us with several dance sequences which are accompanied by the unmistakable Swan Lake theme; this is reminiscent of the white swan. However, despite the physical likeness to the beautiful and innocent white swan,
Abigail’s character is more implicative of the dark and manipulative black swan. When we first meet Abigail she presents a small and frightened demeanour – as expected since we believe that she has just been abducted from her family home. As we uncover more about Abigail’s character we see her transform into an evil and vengeful creature who only played the innocent in order to trap her believed kidnappers and lure them into her game. The choice here to mirror Tchaicovsky’s ballet allowed Bettinelli-Olpin and Gillet to create a balance between the classy and elegant – two themes often associated with vampirism – and the graphic blood and gore.
(Variety, 2024)
Returning to the aforementioned modern twist on the vampire genre, Bettinelli-Olpin and Gillet were not only able to incorporate traditional associations with the mythology, but elevate them in order to entice a modern day audience and provide Abigail with its own, original vampire lore. One scene that we always expect -but is nevertheless enjoyable – is the sequence in which our characters try to decipher how to kill a vampire. We are treated to all of the classics including: stake through the heart, sunlight and a humorous mix up between garlic and onions. Here we are provided with all of the traditional mythology which without, you couldn’t possibly imagine making a vampire flick!
What struck me as the most innovative choice was the way in which the vampire legend was established within the narrative. Once the group realise that they have been trapped and are being picked off one by one, they recall a rumour that they had heard concerning one of Abigail’s billionaire father’s bodyguards, who literally tears apart his enemies like an animal. This was a clever way to maintain the vampire figure as an urban legend but update the way it is presented to our characters in order to uphold the mystery of their attacker, and raise the stakes once they uncover the truth.
(Bloody Disgusting, 2024)
Another important theme addressed in Abigail is the internal conflict of the human versus the monster. Right from the word go we understand that our group of kidnappers are monstrous enough to abduct an unsuspecting child for their own profit; it isn’t until later however, that we learn why each of them sign on to the job and can separate the selfish from the desperate.
Joey (Melissa Barerra) and Frank (Dan Stevens) are two of our criminals who are pitted against one another in order to convey this contrast. Joey is elected to watch over Abigail whilst she is locked up in the mansion they are holed up in, this allows us to see a more compassionate side to her; we also learn she has a son, her reason for participating in the crime in the first place.
Frank on the other hand is aggressive and abrasive in his attempt to lead the group suggesting that his true desire is power. We see Frank wrestle with his humanity and his loyalty to the group but he eventually succumbs to his own sense of self preservation resulting in a permanent embrace of the monster, both inside and out. In a final showdown we see Joey fighting – alongside an unlikely ally – to keep her promise to her son, and return home to her family. It is through Frank we learn it’s not just the curse of vampirism which makes someone a monster and through Joey that one can commit a monstrous act with the most human of intentions.
(CBR, 2024)
Bettinelli-Olpin and Gillet have once again created a wacky and unique horror picture that audiences won’t soon forget as Abigail has taken theatres by storm and proven to be a thrilling cinema experience. This vampire-comedy uses the art of ballet to display some unforgettable scenes of violence whilst reminding us that a delicate, twelve year old dancer is the undoing of six hardened criminals. The success of Abigail will hopefully pave the way for more exciting genre experiments and unexpected hybrid horror films in the future!
Hope Lelliott-Stevens
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The Dead Northern Horror and Fantasy Festival is coming back in 2024 – Expect a huge line up of new feature films, classic feature films, short films from some of the worlds best up and coming horror film makers, Q&A’s, live music, awards and our signature HORROR THEMED LIVE EVENTS.
Dead Northern is a Film Festival that pushes the boundaries and puts the FESTIVAL in the Film Festival! VIP Weekend Passes, day passes and individual screening tickets are available.
Details of the full line up released August 2024, limited VIP tickets available at a discount until 31 May 2024.
Spring’s new psychological horror feature ‘Immaculate’ sees Sydney Sweeney star as Sister Cecelia, a devout nun who finds herself trapped in a secluded convent in the Italian countryside. Fighting for her life, Sister Cecelia finds herself subjected to experiments orchestrated by the church in an attempt to bring about the second coming.
‘Immaculate’ explores themes of isolation, misplaced faith, and the duplicitous nature of the seemingly beautiful. Sweeney provides an electric performance that encapsulates the tipping point between sheer terror and blind rage, carrying the audience with her through a dark and at times gruesome journey of Sister Cecelia’s self discovery and relationship with her faith.
Sister Cecelia, a young, fresh faced religious girl, embarks on a new chapter of her life as she travels to Italy to work as a carer providing end of life care for old, sick nuns. She found her faith after a near death experience in her childhood; she now follows God as she believes that he saved her that day to serve a purpose, but she is yet to discover what that purpose may be. Upon arrival in Italy, Sister Cecelia detects an unsettling atmosphere which shrouds the convent.
After blacking out on her first night she soon discovers that she has become pregnant through a seemingly Immaculate conception. Sister Cecelia was guided to the convent by her faith in God and was consequently expected to put her trust into his representatives on earth. However, after it is discovered that she is the subject of a cruel and inhumane experiment, it is clear that Sister Cecelia’s faith was misplaced, not with God, but with those who follow him and twist their beliefs to justify their own heinous agendas.
(Variety 2024)
We learn early on that Father Tedeschi – the Priest who summoned Cecelia to the convent in the first place – devoted two decades of his life to the field of biology before he found his own place amongst the church. It isn’t until later that we discover Father Tedeschi was shunned from the profession due to conducting unethical experiments.
Once we learn the truth behind Sister Cecelia’s pregnancy it is clear that the purpose which Father Tedeschi and the rest of the convent serve is not in fact God’s but their own. They attempt, in the name of God, to engineer a biologically perfect replication of Christ and believe that he will be their saviour and wash away their sins. The convent firmly believes what they’re doing is for the greater good because, as stated by the Cardinal, “If this is not the will of God, why does he not stop us?”.
Yet, the fact that Father Tedeschi uses eugenics to force the creation of a Messiah opposes the Christian belief that Christ will rise again at the right time. We can also then see how the title, ‘Immaculate’ serves two meanings: firstly, it denotes the idea of an immaculate conception and secondly, it represents the attempt to design a genetically perfect foetus carried by the perfect vessel – Sister Cecelia – destined to become a faultless religious figure.
(Screenrant, 2024)
The setting of ‘Immaculate’ is another important element of the film as it embodies one of the main motifs – darkness masked by beauty. We are provided with a plethora of shots both inside and outside of the convent, depicting both the architectural and natural beauty of the Italian scenery. These shots however are lengthy and linger in certain rooms and corridors. This gives us the foreboding impression that there is something lurking in the convent, a malevolent force or motive hiding amongst the picturesque dressing of this religious building.
Similarly, when Sister Cecelia first arrives at the convent she is sweet, innocent and devout. However, once under threat she is capable of embracing the darkness emanated by the convent and doing whatever it takes in order to survive. Finally, a bible quote hidden on the wall of Sister Cecelia’s bedroom – “And no wonder, for Satan himself masquerades as an angel of light” – foreshadows the duplicitous nature of Sister Cecelia’s baby suggesting that it has the potential to be a force of evil, disguised as a miracle.
(Discussing Film, 2024)
‘Immaculate’ provides a thrilling cinematic experience bringing audiences along for a ride full of gut wrenching twists and abhorrent revelations. The film emphasises the idea that a person’s faith is uniquely their own; a relationship with God should be an individual experience, not dictated by anyone or by an alternative motive. Sydney Sweeney perfectly captures Sister Cecelia’s journey in discovering that God’s purpose for her is to choose her own path. ‘Immaculate’ is a must-see new horror flick and a perfect combination of a harrowing conspiracy and the prevail of a person’s faith in themself.
Hope Lelliott-Stevens
Want more top horror lists and reviews? Check out our blog here..
After running down their funds from their wild and party oriented travels through Australia, backpackers Hannah (Julia Garner) and Liv (Jessica Henwick) accept a desolate bar job located in a mining town in the Outback. Once they arrive however, an uneasy atmosphere settles in and follows the girls as they try to navigate an unknown, strange environment devoid of any means of escape. The Royal Hotel provides an excruciating commentary on the pros and cons of travelling around the world; specifically the dangers of travelling as a woman. Director Kitty Green severs her characters’ contact with the world they know and thrusts them into a society with different rules, rules they would have to adhere to in order to survive.
The driving force of the film is the relationship between Hannah and Liv. The two portray a friendship in which one friend is reckless and impulsive and the other is sensible and paranoid. It is Liv who encourages Hannah to accept the bar job despite its isolated location, convincing her that it’s a necessary task given their financial situation. However, after one night of working the bar Hannah begins to feel on edge and senses that she and Liv might not be safe. Liv on the other hand brushes past these signs and even encourages Hannah to be more spontaneous – for example, spending time with Matty (Toby Wallace) whom they had only just met and experienced unwanted attention from the night before.
The relationship between the girls highlights the somewhat universal experience in friendships where one friend feels they are being forced into uncomfortable situations and the other feels they are being held back or not allowed to have fun. Coupled with an unfamiliar environment, the cracks begin to show in Hannah and Liv’s relationship and we gain an insight into how people can feel alone even amongst friends. Despite their rocky journey however, Hannah and Liv pull together when their situation elevates. The Royal Hotel illustrates how difficult it can be to travel with a friend who has a different level of awareness than yourself. Furthermore, Hannah and Liv emphasise the importance of banding together despite differences and emphasise the power of women who stand as one.
(Discussing Film, 2023)
Reinforcing the idea of sticking together, The Royal Hotel supplies an honest and at times difficult to watch criticism of the systemic misogyny present in bar culture. When they are first offered the job, Hannah and Liv are warned that they should expect unwanted male attention, especially because they will be based in a mining town. Moreover, after a few nights Hannah is told by Billy (Hugo Weaving) – the owner of the bar – that her attitude and lack of smiling is bad for business and drives his customers away.
This demonstrates the expectation of both bar staff and customers for the female employees to be part of the service the bar is providing. For example, Dolly (Daniel Henshall) is a regular who expects Hannah’s company as well as her bartending service when he hangs around after hours and tries to buy her drinks. He insists that he is just being nice despite elevating the situation with aggression when she declines and he subsequently doesn’t get his way.
There are several narrative piques similar to this in the film where one of the male characters becomes problematic by suggesting they are going to act violently towards one of the girls. These situations are always diffused however meaning that the film never comes to a clear climax. This choice works from a social commentary perspective as it highlights that female travellers can always feel an air of vulnerability even if they are never directly threatened or put into an obviously dangerous situation. From an entertainment perspective however the narrative falls flat without building to a satisfactory crescendo and cannot end with an adequate equilibrium as the story didn’t deviate from one to begin with.
(In Review, 2023)
The choice to use the landscape of the Australian Outback as the setting for The Royal Hotel is a metaphor for the loneliness and isolation that many people feel whilst travelling. We experience this isolation predominantly through the eyes of Hannah. As aforementioned Hannah and Liv exhibit significant differences and desires meaning that whilst Hannah for example feels threatened by the persistent and overly familiar male clientele, Liv sees them as harmless and cannot empathise with Hannah’s plight.
Throughout the film the walls begin to close in on the girls when they realise – as personified by the location of the Outback – they have nowhere to run to. Subsequently when Hannah stops a susceptible Liv from leaving the bar with Dolly they have nowhere but the bar to barricade themselves into. The Royal Hotel utilises the small building stood alone amongst a vast desert to convey the feeling of being trapped; a feeling familiar to many travellers who experience loneliness or homesickness when spending too much time isolated in unfamiliar environments.
(Indie Wire, 2023)
The Royal Hotel at times provides an excellent observation on the experience of travelling and working as a woman using Liv and Hannah to paint a picture of how even the closest of friends can feel alone in each others’ company, especially when you are away from home. The film also dives into the problematic system of many service industries who rely on the sexualisation and submission of women in order to entice customers and maximise sales. Having said this however, it feels that many desirable elements for a good film narrative are sacrificed in order for the social commentary to be made. Other than our central protagonists many of the secondary characters feel one dimensional and have no other purpose than to act as devices for the plot.
The Royal Hotel drives home the dangers of exploitation that many female travellers are confronted with and encourages awareness of foreign surroundings in order to avoid being taken advantage of as everyone deserves to feel safe when exploring new places.
Hope Lelliott Stevens
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Breathing new life into the franchise, Saw X provides a never before seen piece of John Kramer’s history and gives audiences an insight into the man who created the Jigsaw legacy. In this new instalment we see John Kramer (Tobin Bell) participate in an innovative new cancer treatment that promises a full recovery from the brain tumour which currently plagues him. All is not what it seems however when the true nature of this treatment is revealed and Kramer takes matters into his own hands, not to exact revenge, but to rehabilitate those who have wronged him. Saw X not only reinforces the morally ambiguous atmosphere that runs through the veins of the franchise, but provides an empathetic origin story for Kramer and creates an argument to justify the necessity for Jigsaw’s tests.
A primary theme in Saw X is that of seeing and perceiving. Jigsaw has always found ways to observe his games and sometimes even insert himself into them. This allowed him to watch his subjects without making himself seen or known. For the first time however, Saw X presents us with a situation in which Kramer not only reveals himself to his subjects as their captor, but moves amongst the games so he can be seen up close by his subjects just as well as he can see them. We know that Jigsaw’s games always reflect the immoral actions of his subjects; Kramer makes himself known and personable in the same way the people involved in his treatment did in order to lull him into their con. The only difference is instead of their lives being in his hands, they are in their own. Furthermore Kramer and returning apprentice Amanda (Shawnee Smith) watch the games from a room above through a large glass window. This also highlights the way that the con artists involved in the treatment would watch their patients on the operating table knowing full well they were going to die, and do nothing to help them. Saw X emphasises how perception is power and gives Kramer an almost omniscient ability, allowing him to provide his subjects with their own personal judgement day.
(Bloody Disgusting 2023)
Speaking of power, another first for the Saw Franchise is the power struggle engaged by Kramer and one of his subjects Cecelia (Synnøve Macody Lund). Kramer appears to lose control of his game when another variable – Cecelia’s con partner Parker (Steven Brand) – shows up to rescue her. As a result Kramer and Amanda end up in their own trap and the power shifts from the puppeteers to the puppets. After besting their opposition however, Cecelia and Parker do not take the opportunity to escape. In fact, they decide the best course of action is to exact revenge on Kramer and Amanda.
Cecelia wishes to make Kramer regret what he did to them and take responsibility by forcing an innocent into the trap alongside him. This portrays to the audience that Kramer was right to put Cecelia in the trap in the first place as she does not regret how she behaved, and given the chance would continue her con. The power struggle continues as unbeknownst to Cecelia and Parker, Kramer wanted them to believe they were in control up until the last moment when he takes it back. This power struggle gives perspective to Jigsaw’s purpose as it shows, given the opportunity, the subjects would not take the moral high ground and therefore deserve to be tested.
(We Got This Covered 2023)
Not only do we see the vindictive spirit of the game’s subjects but we learn of a compassionate side to our game’s runners. A stand out player in Saw X is Amanda who is aforementioned, Kramer’s apprentice. Those who are familiar with the franchise will know that when Amanda eventually takes over from Kramer her games are unwinnable and her motives vengeful. This movie gives us an insight into what shapes Amanda’s motives and why she becomes this way. One of the players in the game, Gabriela (Renata Vaca) is a young drug addict, similar to the person Amanda was before she was subjected to her own test.
Amanda empathises with this girl and tries to help her by delaying her test. Seeing herself in Gabriela, Amanda begins to question if she herself deserved to be tested and whether aligning with Kramer was the correct decision. However, after Cecelia proves that even in the face of almost certain death she would not change her ways, Amanda begins to realise that these people don’t need to be rehabilitated but in fact punished. Saw X drives home Kramer’s strict rules for his games as it shows how other people would abuse his power should they have it for themselves.
(The Mary Sue 2023)
Saw X contributes yet another tale of morality into the franchise emphasising Kramer’s importance as Jigsaw by showing us how the games might be run if the shoe were on the other foot. The purpose of this instalment is to convince us – if we weren’t already – that Kramer is not a villain but an anti-hero. It has always been a question in the Saw universe whether or not it is morally wrong to test the immoral. Saw X gives reason and meaning to who Kramer becomes in the later films; the movie does not try to justify Jigsaw’s behaviour by saying it is wrong, but says it’s right and shows us why.
Hope Lelliott-Stevens
Want more top horror lists and reviews? Check out our blog here..
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(The Reveal, 2024)
(Blavity, 2024)
(Deadline, 2024)
