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With the 2022 fest just around the corner – Dead Northern’s editor in chief reflects on the of the favourites from the 2021 festival!

Wyvern Hill (Directed by Johnathan Zaurin, 2021)

Beth (Pat Garrett), begins showing signs of early Alzheimer’s, leading to her daughter and son in law taking her in. Little do they know, something much darker lurks beneath the surface.

Wyvern Hill illustrates the bold, wickedly deceptive, and shocking tales that can come from a narrative surrounding a small knit of characters, with director Jonathan Zaurin proving that independent cinema can go above and beyond in every single way. Throughout the film, a plethora of juxtaposing themes are featured including loss of the self and the psyche of disjointed minds, however, rather than Wyvern Hill biting off more than it can chew, the wildly ambitious result is sublime, ensuring that the viewer is both alarmed and intrigued the entire time. Adding even more richness to the film is the valiant imagery that can flip from quaint mute tones to daring neon lighting, again infusing an almost psychedelic aspect into the traditional ‘ghost’ story.

Among the Living (Directed by Rob Worsey, 2021)

After a deadly mutating virus demolishes nearly all of the population, a struggling older brother along with his little sister has to travel across a ruined England to find safety with their father.

Tarnished landscapes due to zombie infestations and ruined connections with the human world, only finding comfort in the small moments between battles is a combination that was destined for the zombie movie. Throughout Rob Worsey’s independent feature, Among the Living, an entire world is created where hardships and sibling relationships are thoroughly explored with an emotive and an all-consuming outcome. As we explore the frightful landscape alongside the pair, it is difficult to not form a heartfelt connection, leading to every risky situation or harmful circumstance to be more heightened than ever.

Red Snow (Directed by Sean Nichols Lynch, 2021)

During Christmas, a vampire novelist (Dennice Cisneros) gets caught up in a battle against bloodsucking vampires.

Red Snow masterfully toys with audience expectations through playing the viewer by delving into entirely original territory through the overarching premise of whether the titular protagonist Olivia (Dennice Cisneros) can actually trust her new house guest Luke (Nico Bellamy). When it comes to vampire films, the standard outlook focuses on gothic architecture, velvet capes, and lusciously lined caskets, however, in keeping with the modernisation of the vampire tale, director Sean Nichols Lynch sets the film at a cozy cabin during the festive period, with tinsel covered christmas trees and plenty of fluffy snow. And whilst Red Snow does make light of the contrasting narrative aspects, the film isn’t afraid of dipping into darker territory and delivering a frightful scare.

The August Club (Directed by Daniel Richardson, 2020)

Jack (Lucas Byrne) and Noah (James Grainger) finish school for the summer, and with nothing better to do they head to the park, only to be dared by local bullies to venture into a creepy house occupied with an ancient secret.

The August Club combines horror nostalgia with creative effects and a keen urge to bring back fun and exciting horror to the market. Many genre fans will look to Goosebumps, Scooby Doo, Tales from the Crypt, and Doctor Who for provoking their initial interest in the weird world of horror; filmmaker Daniel Richardson reintroduces these vibes back to indie cinema to both create an exciting adventure with plenty of twists and turns throughout, as well as showcasing how British horror excels in using a unique blend of dark humour and naturally eerie settings to create a memorable venture.

Zomblogalypse (Directed by Hannah Bungard, Tony Hipwell, & Miles Watts, 2021)

Three survivors from the zombie apocalypse keep a video blog of their day to day life and decide to create a thrilling action feature to keep themselves entertained.

Zomblogalypse began as a web series in 2008 detailing the zombie apocalypse in a lighthearted, but equally gruesome way. Over the years, the success of the series not only conjured a wide fan following, but also a full feature length picture filled with irreverent undead antics and some serious laugh out loud escapades in this surreal, entertaining, and captivating zombie found footage hybrid. The exciting peaks that Zomblogalypse hones in on is of course extremely entertaining, but the film does not stray away from the gory aesthetics that zombie films are known for. The effects are more than brutal and generous, with tons of putrefying flesh, bloody wounds, and flailing limbs appearing in the spotlight more than once.

The House That Bleeds (Directed by Ben Ellis-Nicholson, 2021)

Alex (James McFadyen) and Lucy (Stephanie McNeil), an expecting couple move into an old ‘fixer-upper’ to start their new life as a family. However, the house holds a terrifying secret.

The House That Bleeds is an incredibly unexpected fright that delves into completely eccentric territory, whilst also remaining truly artistic and inventive. From the get-go, the basic idea of a possessed house is a true classic, creating a cushty environment for director Ben Ellis-Nicholson to display true terror, however, in keeping with the film’s noteworthy dexterity, Ellis-Nicholson swaps live-action actors for puppets! In this Muppets-meets-Amityville Horror epic, there are plenty of surprises all encased in a dreamlike and unearthly manner.

Eject (Directed by David Yorke, 2019)

Kate (Elena Saurel), discovers a USB port lodged within her wrist that uncovers a whole new world where she is offered the chance to change her fate. But, the dark cost of such drastics alterations might not be worth it.

When it comes to sci-fi laden stories there isn’t much that hasn’t been repeatedly covered, however, David Yorke’s Eject manages to be entirely unique, plunging a level of pure originality into the genre. As the short progresses Yorke tackles the current societal panic of technology taking over and the loss of human interaction. The narrative motive alone is truly terrifying and personable, which is made even more pronounced due to the labyrinth-like setting and exceptional cinematography that transports the viewer to an unknown world.

Burn the Bitch (Directed by Kieran O’ Toole, 2021)

Rob (Joshua Diffley) is dragged from his comfort zone to a loud concert filled with people, whilst there he meets his dream woman Daria (Carlotta Morelli), however, their blossoming connection is not exactly what it seems.

Having solid groundwork with a thriving story is certainly an aspect that Kieran O’ Toole’s Burn the Bitch completely nails. And whilst the narrative is a key component to any short, O’ Toole refuses to stop just there as this short is beyond a visual rollercoaster that relishes in enigmatic imagery lit with giallo-like tones, where every aspect of horror is exemplary and made extremely memorable. Coupling up with the film’s vivid exposition in the detailed characters who are so balanced and elaborate that a full length film could easily come from this renowned short.

Hold Your Breath (Directed by Kameron Gates & Tommy Weber, 2017)

During Molly’s (Emily Sweet) midnight swim, the unexpected happens, leading to a fight of the fittest between herself and a masked assailant.

Hold Your Breath is a spellbinding take on the psychological horror sub genre. Joining the deep and dark explorative story of the human psyche is the film’s exceptional cinematography that has such a high level of quality attached to it the entire time. The rich landscapes, along with the attention commanding narrative allow Hold Your Breath to be both cinematically affluent and hauntingly arresting.

Koreatown Ghost Story (Directed by Minsun Park & Teddy Tenenbaum, 2021)

A young woman (Lyrica Okano) is offered the opportunity to pursue her every want and need, but at a damning cost.

Koreatown Ghost Story truly shows that short films can be as bountiful, explorative, and effective as any full length feature. Throughout, both a mystery plot and a supernatural story are followed, with the viewer deliberately being unsure of what exactly is happening until the very end; in turn creating a sense of discombobulation and eeriness. Amidst all the unpredictability is the cinematic expressiveness, from the slightly sporadic characters to the detailed set that mimics the setting of a large blockbuster film on an independent budget.

Looking for more top horror lists and reviews? Check out our blog here..

An insight in to this years selection of dystopian short films, showing at this years festival 25th September 2021.

Let’s All Go to the Lobby! (Directed by Nolan Barth)

Nolan Barth’s Let’s All Go to the Lobby is a freaky, bizarre, and imaginative short horror that follows Alex (Kelley Pereira), a theater employee, and her childhood best friend who must battle against the cinema snack counter that has come to life after a cursed film is unearthed. The reanimated popcorn, candy, and sodas are a clear ode to the crazy creatures you’d see in classic B-movies, with their toothy bloody grins, and contorted limbs coming straight out of Braindead (1992), Attack of the Killer Tomatoes (1978), and Evil Dead 2 (1987). Teaming up with the stellar practical effects is the brazen balance that Barth has managed to juggle, at one point you’ll be laughing out loud and the next shrieking from the gnarly terror that takes no prisoners.

The House That Bleeds (Directed by Ben Ellis-Nicholson)

The House That Bleeds is an unexpected frightful affair that goes above and beyond the definition of creative through its innovative character and set design. When an expecting couple is left a house in a will they take this ideal opportunity to start the next chapter of their lives together. The house is a bit rundown, but nothing that a bit of paint won’t fix, little do they know that beyond the walls lies a dark, sinister secret ready to wreck bloody havoc. The story alone is enough to have audiences queuing to see it, however the true beauty of this gem is that creator Ben Ellis-Nicholson used puppets in favour of actors, creating a visual overload that still scares despite the Muppet-esque quality.

The Apparition (Directed by Trevor Hagen)

Carly (Samantha Bowes), must overcome her personal demons as she fights through her grief to conquer an evil tall entity that has been stalking her every move. Throughout the film the daunting atmosphere infiltrates every shot, with a menacing sense of dread being the focus of the horror. Trevor Hagen flaunts his obvious flair for creating a haunting tone through immersing the viewer so far into the film that the terror is inescapable. Although a clear backstory is given, much of Carly’s past is told in non-descript flashbacks, allowing the emotions to speak for themselves. The Apparition prides itself in creating an unsettling environment that disconcerts and rattles its viewer.

Psychophonic (Directed by Aline Romero)

One night during a full moon, a dainty cat walks atop a roof when it hears music coming from below. The curiosity bites and it enters the spooky home, only to be trapped. Whilst attempting to escape, the cat discovers a strange secret that the mysterious gramophone holds. Across Psychophonic a peculiar world is built, encapsulated by crooked interiors, and a dark colour palette. Furthering the whole unfamiliarity is the stop motion animation method that director Aline Romero utilises, exaggerating the quirky-horror vibe that is reminiscent of works such as Coraline (2009) and The Wolf House (2018).

The Hangman (Directed by Edoardo Magliarella)

The Hangman fixates on exactly what makes a short horror effective; potent timing, quick pacing, and a memorable ending that leaves you wanting more. Edoardo Magliarella delivers an aptly short that explores the terrors that await when you are home all alone. We focus on a student who is working late one night. After a short break a mysterious piece of paper headed with “Let’s play” appears on the table. Magliarella works by not showing every malevolent deed, instead the horror is evoked by making the evil force unseeable, ensuring that we are unaware of what the threat is going to do next…

Old Friend (Directed by Joseph Schlapsi)

Old Friend follows Ellie (Reilly Nelson) and Thomas (Joseph Schlapsi), whose relationship is tested when an old friend of Thomas’s calls asking for company. Ellie insists that she trusts him, however it’s not long until she begins wondering where he is, leading her to suspect that not everything is quite as it seems. Old Friend is purposefully misleading and convoluted, leading us to think that one thing is happening when in fact much more sinister events are bubbling under the surface. This prolonged buildup of tension is even further escalated by the lingering score and close up cinematography.

The Monster (Under the Bed) (Directed by Sammie Jo-Cunnane)

Sometimes the best horror films that really get under your skin come from the simplest ideas, take for example The Monster (Under the Bed). The film follows Luna (Alison Nicholls), a young girl who’s bedtime story reveals a harrowing secret and the horrid nightmare that derives from abuse. Although The Monster tackles an archetypal story from the forefront, underneath lies a deeply sensitive story that is not dulled down and retreated from the main narrative. Alternatively, the troubles that Luna suffers with become the face of the film, prompting the question as to who is the real monster.

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