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
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Here’s your guide to every screening, event and dark delight at this years Dead Northern Horror and Fantasy Film Festival 2023!
Friday – 29th September
As you join the queue in to the city screen with your fellow horror lovers, check in at our front desk with Josh, Gareth and Dave and grab your festival pass.
Head through to the main lobby and pick up any provisions you need with Cath and the team at City Screen Picture house, and head up to Screen one for your first day of spooky screenings…
11:00am – Student Short Films
‘Swine’ – one of the brilliant short films you can see in this showcase
A King in Yellow -A brother attempts to bring his sister’s sense of hearing back by performing an occult ritual involving vinyl records.
…And Again, And Again – Opening right amidst the action, a knife wielding maniac pursues his terrified victim home. Bloodshed ensues, but things are far from what they appear to be…
Serpentine Petrol Product reel No.7 ”Skin Cream” – A snake oil salesman with the latest in beauty products: A skin cream that melts away your skin.
Swine – Witness the death of society as two powerful men, driven entirely by their greed, gorge themselves on pork and wine before revealing their true nature.
Ariane’s Baby – Ariane is a single and lonely woman who craves love after a history of abusive relationships. The birth of her child represents a chance to start everything anew and form her own happy family, but she worries about not being up to the task.
Morto Rossa – A dance school organizes a mysterious casting to select a dancer for a future show. Suzie, after passing the audition, will be chosen as the lucky one.
The Machine – Alexis is a college student in her early 20s. One night while gathering with her friends she takes interest in the pinball machine in the arcade room…
Lucid – Lucid follows a protagonist, Wes, who becomes obsessed with the concept of lucid dreaming and spirals into a chase for power in his sleep.
Yokai In My House – Miyako a girl in her 20’s inherits a house in Japan. Unbeknown to her it is haunted by the Mokumokuren. Will she survive the night or will she succumb to the same fate as her predecessor?
12:30pm – ISAAC (Feature film) -Sci-fi Horror – Northern Premier with Q&A
In the near future a company specialising in cellular meat trial its synthetic technology in a bid to create the perfect child. Nicholas and Sarah are guinea pigs to this trial and are provided with a seemingly healthy son, after losing their own child to a genetic disease. As their new son, Isaac, develops he becomes increasingly violent and dangerous, leaving the parents with no choice but to lock him away and keep him hidden while they try to uncover the truth as to what is driving him insane.
2:30pm – The Good Times (Mini Feature) – Post Apocalyptic Horror
Fantastic short feature film, made by brilliant local talent and filmed in and around York!
A young man lives alone in a dystopian future, trying to survive a post-apocalyptic world and his own conscience.
One bashful vicar… One haunted nudist camp… Prepare to get the willies. In this paranormal comedy from the makers of 2018 festival-hit Paul Is Dead, BAFTA-nominee Spencer Jones leads a star cast (alongside veteran actors from ‘Hot Fuzz’, ‘Game Of Thrones’ & ‘Spaced’) as Rev Howard Lee Jr, a bashful local vicar who is called upon to save a haunted nudist camp from the prudish poltergeist covering their privates.
4:00pm – Folk Horror and Mystery Short Films
Kicking off our Folk Horror themed afternoon is a mixture of eerie short films…
‘Find You Here’ Folkloric Horror set at an abandoned scare attraction
Kiddo – On a rickety bus trundling through wilting countryside, a mysterious older woman named ‘Kiddo’ and a cohort of overexcited teenagers meander towards Wonderland, a theme park like no other. Sinister secrets await as Kiddo and her compatriots face off with their hosts and draw closer to discovering the truth of their journey.
Creulon – High in the mountains above the sleepy town of Creulon, a charismatic Radio DJ and a malicious Serial Killer share a sinister connection.
No Such thing – An obsessed alcoholic and his reluctant grandson search the Mourne Mountains for the fabled Banshee. Synopsis: Decades after his Father’s death, Paddy’s search for the mythical ‘Banshee’ is unwavering. Conor loved his grandfather’s stories when he was a child, but now an adult, he’s tired of the camping trips and the unhealthy obsessions. As the two set off into the mountains, their real struggle isn’t a ghost story, but their own decayed relationship.
The Wyrm of Bwlch Pen Barras – Early one winter morning in the rural town of Rhuthun in North Wales, three men are called upon once again to carry out a terrible assignment on the Bwlch Pen Barras mountain pass. Shot on 16mm by cinematographer Sean Price Williams (Good Time, Her Smell) and featuring a score by Cian Ciaran and Dafydd Ieuan from The Super Furry Animals, The Wyrm of Bwlch Pen Barras is a Welsh language folk horror film about modern Wales, rooted in the country’s rich mythology.
The Lure – Late at night, a lone fisherman discovers he is not the only one hoping to hook something.
Find You Here – Find You Here is a gnarly piece of folkloric horror about what happens when a toxic couple find themselves at an abandoned scare event built on evil land. Will they survive the night?
My Dreams Have Been Dark of Late – A knight finds himself at the mercy of his armour.
BREAK
A chance to come out of the darkness and find nourishment before the second half of day one…
6:00pm – Folk Horror Panel (Hosted by London Horror Society)
One of the chats talks from Dead Northern 2022
Chris and the team from LHS will be joining us all weekend and bringing some special guests from across the film industry for a good old chat about Friday afternoons theme ‘ FOLK HORROR’.
7:00pm – Sins of the Father (Feature Film) – UK Premiere – Folk Horror
After the death of his father, Aden and his mother, Sarah, find themselves responsible for the sale of his family home – a place they thought they’d left behind. When Sarah’s friends arrive to help, the task seems almost manageable. However, as they clear out the house, they uncover secrets in Sarah’s past and the sinister nature of the cultivated community Aden was raised in…. And his father’s family is not so eager to let the sins of the past go unpunished.
9:00pm – The Wicker Man (50th Anniversary Screening)
One of the original trilogy of British Folk Horror films that established the sub genre, join us in a celebration of the iconic film on a very special anniversary.
The plot centres on the visit of a police officer, Sergeant Neil Howie, to the isolated Scottish island of Summerisle in search of a missing girl. Howie, a devout Christian, is appalled to find that the inhabitants of the island have abandoned Christianity and now practise a form of Celtic paganism. The Wicker Man is well-regarded by critics. Film magazine Cinefantastique described it as “The Citizen Kane of horror movies”, and in 2004, Total Film magazine named The Wicker Man the sixth-greatest British film of all time. It also won the 1978 Saturn Award for Best Horror Film. The final scene was number 45 on Bravo’s 100 Scariest Movie Moments, and during the 2012 Summer Olympics opening ceremony, it was included as part of a sequence that celebrated British cinema. The film brought the wicker man into modern popular culture.
10.00pm – Till Late – Welcome Social with London Horror Society (Pitcher and Piano)
For those ready to party and meet some like minded horror folk, head just 30 seconds across the road to Pitcher and Piano where we welcome horror fans to the 2023 festival!
Whether you’re a seasoned horror aficionado or a curious newbie, at our indie horror mixer you’ll have the perfect opportunity to connect with friendly and talented people, and share your passion for all things spooky! The mixer will run from 10:00pm till late, giving you plenty of time to grab a drink, mingle and make new friends in the horror community.
Freshly bleary eyed from day 1, we’ll be welcoming you back to the City Screen (Bloody Mary in Hand) for day 2 of the fest!
11:00am – Satanic & Spooky Short Films
Opening Saturdays is a fantastic group of short films celebrating everything ghostly and demonic!
‘The Unquiet Dead’ jump scares and amazing practical effects in this scary short film!
La Nueva – Maria is the new teacher who arrives at an old religious school. On her first day, she will have to teach a group of rebellious kids who are part of a punishment class. An unexpected event will turn the classroom into a real hell.
Death Date – Boy Meets Girl on the Day of His Death
Fuse – An electrician finds himself stalked by a ghostly presence as he attends a night call at an elderly woman’s house.
Sylvie Made it – In hell, the dead work in call centers under the illusion of earning a place in heaven by satisfying the living. This is not worth the money for some, except when their loved ones suddenly disappear for heaven…
The Unquiet Dead – A therapist treats an unstable young woman who claims to be harassed by an assortment of malevolent spirits – who are demanding something from her.
Ghost Insurance – Stressed about the supernatural? Paul is selling ghost insurance policies, but one family isn’t convinced.
12:30pm – Haunted Ulster Live (Feature film) – Norther Premiere with Q&A – Paranormal Mockumentary
On Halloween night 1998, TV veteran Gerry Burns, teams up with popular children’s presenter Michelle Kelly to investigate poltergeist activity in a haunted house in Belfast. A seance causes the broadcast to descend into chaos. When the youngest child is mysteriously abducted by an unseen force, the two presenters must face their greatest fears on live TV.
2:30pm – Creature & Body Horror Shorts
‘The Heritage’ sure to creepy an gross you out in equal measures
The Heritage – After growing up adopted, a man makes a gargantuan discovery when meeting his biological father.
Dead Skin – Disgruntled teenager Jess has an itch she just can’t scratch and she’s willing to do whatever it takes to be rid of it.
Wormies – In 1980s suburbia, a distant family is forced to come together when the Summer’s hottest new toy, a cute aquatic pet, mutates into a repulsive monster.
Dinghy – After barely making it ashore onto the English coastline, a refugee and the man who smuggled him seek safety after a treacherous channel crossing, both pursued by and summoned to a place of darkness.
Growing Horns – On the verge of adulthood, Alva is studying meat cutting at a butchering school. Alva is severely bullied and her fellow students turn her daily life into torment. To control at least one aspect of her life, Alva has stopped eating. As the bullying escalates and her hunger grows, Alva begins to lose control of herself and sees red.
Forever – Shani and Amar are two half-dead girls, being sex-trafficked with a high price tag. When the thugs transporting them head to get food, the pair are hungry too and escape. They dodge the men in the shadows, but with hunger and dawn rising something has to give.
4:00pm – Video Shop Tales of Terror (Feature film)- Northern Premiere – Anthology Horror
A sinister video shop holds the key to a collection of terrifying VHS related tales, told by a collective of the best UK indie horror filmmakers including MJ Dixon (Pandamonium), Michael Fausti (Exit), Andrew Elias (The Numbers), Tom Lee Rutter (Day of the Stranger), Sam Mason Bell (The Millenial Killer) & Alexander Churchyard (The Allotment). With fake trailers from Tony Mardon & Geoff Harmer.
Horror legends Dani Thompson (My Bloody Banjo), Laurence R. Harvey (The Human Centipede II) join the cast, along with Martin W Payne (Monstrous Disunion), Hannah Paterson (Horrorscopes: Vol 1), Ayvianna Snow (Vampire Virus), Annabella Rich (Hacker), Chris Mills (Terror at Black Tree Forest), Cy Henty (Cleaver: Rise of the Killer Clown), Eve Oliver (Mask of Thorn), Charlie Bond (Powertool Cheerleaders vs The Boyband of the Screeching Dead), James Hamer-Morton (Dead Air) & Glyn Angell (Tales From the Great War).
BREAK
Saturday is all about pacing yourself so have a wonder around our Bizarre Bazaar marketplace in the City Screen basement and refresh your eyes for some unmissable evening events!
7.30pm- Spirits with Spirits (Live event) Sponsored by Sinners Gin
Back by popular demand Dead Northern’s resident ghost whisperer Paul Forster will be sharing some of York’s dark secrets and spooky stories and invite the audience to tell some of their own.
Partnered with a campfire cocktail courtesy of our sponsor Sinners Gin, who will have mixologists creating you delicious drinks throughout the spooky event.
9:00pm – How to Kill Monsters – Northern Premiere with Q&A (Feature film)
Our first ever fully sold out feature at the festival, and a brilliant gore fest to round of the second day of screenings!
The sole survivor of a blood-drenched massacre must team up with a rag-tag bunch of rookie cops and lawbreakers to fight off an invasion of monsters from another dimension. With a menagerie of monsters realised entirely with practical effects and buckets of fake blood and guts thrown in for good measure, HOW TO KILL MONSTERS will scratch the itch of horror fans craving a throwback popcorn horror movie that delivers thrills, kills and laughs in equal measure.
11:00pm – Awards party
Fresh out of the sold out screening and Q&A, VIPs and filmmakers will head down into the main lobby to celebrate all the amazing creators at this years festival for one hell of a party!
Awards, live music and lots of new horror pals made, you’ll stumble home after (just about) surviving day two of Dead Northern 2023.
Sunday – 1st October
For festival goers looking to recover from Saturday night or just fuel up, there will be some amazing brunch available to keep you going for the final day!
11:00am – Thriller Short Films
‘Shut’ a spine tingling short film screening as part of the thriller shorts
Suspense filled thrillers kick of our final day, and are sure to keep you on the edge of your seat!
Caterpillar – Luke’s world is rocked when a stranger shows up claiming to be his partner. Luke descents into madness as he struggles to get the bottom of who the imposter is while also experiencing his own terrifying metamorphosis.
Shut – When Jonas visits his father after a long time, he’s shocked to find him in a confused state. Has his father’s mental state badly deteriorated or is something more sinister going on?
Morgue – Working the late shift at an old city morgue, the night porter passes the time playing pranks on the corpses. His usual party tricks come to an horrific end when after a delivery of eight new bodies earlier in the day, they vanish in the middle of a power cut…
Illusion – A delicious dinner, a stage, a magic show – what can go wrong? When Lisa accompanies the nice magician home after the show, she has to learn that some tricks are better not to be questioned.
The Family Man – Roger is the perfect Family man, but he keeps secrets , secrets that must be buried deep.
12:45pm – Dead Talks (Live Event)
Way back when we first started Dead Northern in 2020 we wanted to bring our own live horror podcast to the event, finally 4 years later we pilot ‘Dead Talks’.
Talks from industry professionals on spooky subjects, all will be revealed when you take your seat…
1:30pm – Dead on the Vine (Feature film) – Northern premiere with Q&A – Thriller
As two men leave a small rural town one of them has a seizure forcing the other to pull into the nearest place – A vineyard. The women owners are deep into prep for a make or break wine tasting but the men are welcomed in. But after recovering from his seizure one man throws a violent spanner into the works, leaving his friend and the women with choices that may destroy not only their business but themselves.
3:30pm – It be an Evil Moon (Feature film) – UK Premiere with Q&A – Werewolf horror
Brilliantly endearing feature from first time director Ben Etchells.
Set in the highlands of Scotland and Northern England, a disgraced scientist develops a hair growth formula derived from pickled wolfsbane which turns him into a bloodthirsty werewolf.
5:30pm – Music Videos
Fantastically disturbing ‘Flesh’ one of many brilliant northern submissions this year
Crooks Heart of Vengance – The story of a scientist inventing the key to eternal life. A couple of thugs steal his invention and leave him and his daughter for dead. In order to come back to life he sells his soul to the devil. Armed only with a heart of vengeance, and an Axe, he hunts down the crooks one by one. . . . They picked the wrong man to kill!!
Hoodie On – The fantasies of a serial killer. A car driver going fast on the highway. A murder has been committed.
Old Flames – A haunting portrayal of a recovering addict learning to live with her demons.
Subvisions – Flesh – Joshua is walking his dog into a dark tunnel and is attacked by a gang of carnivorous old people. They want his flesh.
The Windstorm
Candlestick Maker – Alien Chicks
BREAK
Almost reaching the end of Dead Northern 2023 and your final chance to enjoy the fantastic venue and city we call home for the weekend. Grab yourself some scran and then settle in for a brilliant final double feature!
7:00pm – Perfectly Good Moment (Feature film) – UK Premiere – Sci-fi Thriller
This psychosexual thriller asks the question: what happens when the things that make your relationship passionate and exciting are the same things that make it toxic? Ruby and David have been together on-and-off for 8 years, since she was 19 and he 34. Six months after Ruby last ran out on him, she has returned. Once the initial bliss of the reunion wears off, old toxic patterns re-emerge. Is David too demanding and controlling or is Ruby just too sensitive? Is Ruby as delicate and demure as she appears to be…or is there something more sinister behind the surface? Why did Ruby really come back? Perfectly Good Moment is Lauren Greenhall’s narrative directorial debut. It features Broadway star Stephen Carlile in his cinematic debut and Amanda Jane Stern (1 Angry Black Man, Lifetime’s Amish Witches). It marks Stern’s first feature screenwriting credit, and boasts an original score by Mdou Moctar’s Mikey Coltun.
8:30pm – Puzzle Box (Feature film) – UK Premiere – Found Footage Horror
Puzzle Box follows the story of a struggling drug addict, Kait (Boyé), and her younger sister, Olivia (Denne). Running from a violent incident in her past and not wanting to go back to rehab, Kait flees to a remote house in the woods to self-rehabilitate, where Olivia joins her to document the process. But they quickly find that the house isn’t what it seems and the internal layout is constantly changing, trapping them inside an inescapable puzzle box of a house. As they attempt to solve the mystery and find a way out, they discover there are far worse things in this house to be afraid of.
We hope you brought a spare pair of trousers… DN Alumni Jack Dignan returns with a punchy found footage horror leaving you terrified just before we send you back home on Sunday night!
Check out the full festival programme and get your tickets here!!
In a bid to develop a new hair growth formula, scientist Freddy Campbell (Ian Ray-White) develops a secret serum using pickled wolfsbane. However, the strange concoction transforms Freddy from a meek man into a monstrous werewolf hungry for flesh.
It Be an Evil Moon comes from the mind of Ben Etchells, who in his directorial debut creates a gnarly indie horror steeped in furry madness and bloodthirsty delight, showcasing the true mania of werewolf movies. The film balances its eccentricity thanks to the equal measures of off-kiltered humour that continuously tethers itself to dark comedy, and due to its rather impressive practical effects, particularly concerning the epic lycanthrophic metamorphosis of Freddy.
Shadowing the cracking exposition of a scientist-turned-werewolf is the film’s unmissable appeasement to classic British wolfman horrors. The Curse of the Werewolf (1961), American Werewolf in London (1981), Dog Soldiers (2002) and Howl (2015) all ooze that quintessential British feel of traditional monotony to terror, with a dose macabre comedy and folkloric undertones. Whilst It Be an Evil Moon in no way mimics the conventionalities of these films, what Etchells does do is extract that same magnetism to conjure a narrative heaped with rural, gothic, sinister connotations.
Whilst credence is deservedly owed to Etchells for his witty take on werewolf mayhem, it would be beastly to forgo a mention to the vibrant performances throughout. The maniacal and certainly ‘eccentric’ character of Freddy is played by Ian Ray-White, who executes the grisly persona with a savagery that makes for a lasting viewing experience. Seconding the spirited performances is the film’s way with tonality, both visually and narratively. It Be an Evil Moon exudes a bleak richness that makes the thrills thrive against the mundanity of Freddy’s initial settings and situation – think Sightseers (2012) or Prevenge (2016).
It Be an Evil Moon takes heed of the classic werewolf tragedy and inspiration from the gloomy yet brilliant portrayals seen within British horror and creates a tale saturated with horror excellence.
Check out the full festival programme and get your tickets here!!
From the director of the award-winning ‘Guardians’ (2017) is Mark A. C. Brown’s latest horror film, Dead on the Vine, an intricately woven story that follows two suspicious men who come across a vineyard just in time for a crucial wine tasting evening.
Dead on the Vine’s closed and extremely intense setting may seem uncomfortably familiar to viewers, which is all thanks to Brown taking heed of the Covid pandemic and creating an isolating, boundary-testing thriller that weaponises the horror of humanity under pressure. Shadowing the brute force of duress is the film’s superb dissection of the psyche, forming a fierce insight into the leaps and bounds we are willing to take to tackle our demons.
The confrontational spectacle of a cat-and-mouse-like mind game brings to mind films such as Funny Games (1997), where the daunting nature of terrorisation within the home thrives. However, the turbulent twists and turns (which are best left to self-discover) stray from any form of replication or conventionality as you genuinely are left in the dark about what is happening next. The strain of attention-commanding cinema additionally continues in the aesthetics of the film. Not only is the general production value fantastic, with every frame exhibiting absorbingly great camera quality, but the cinematography itself is also beyond admirable, with the visuals taking advantage of the stunning vineyard setting.
Dead on the Vine is a tense, ticking time bomb that is both a tight-knit character study and an unnerving tale that keeps spiralling right up until the very shocking and heartfelt ending.
Check out the full festival programme and get your tickets here!!
Devotion, intensity, desire, all the small details that make a relationship burst with passion also have the potential to turn poisonous, embedding romance with toxicity. Victim to this cruel spate of love is Ruby (Amanda Jane Stern), who has been with her on-and-off partner David (Stephen Carlilse) for eight years. After a six-month break, Ruby returns to David, hoping for another chance of reconciliation. However, this time round the pair might not make it for another reunion.
Perfectly Good Moment captures the cinematic brilliance of tense, psychosexual thrillers, as director Lauren Greenhall weaponises the small cast to create an intimate and uncomfortably close environment where the deep seeded trauma of the narrative thrives; particularly at the hands of Ruby. David’s bond with Ruby is rife with manipulation: demanding her on what to do, how to act, how to live. Yet, rather than Greenhall, simply ‘showing’ the pattern of abuse in the archetypal way, she develops Ruby’s character with a spark of agency. Whilst the gritty details are best left to the viewer’s surprise, what can be noted is that Perfectly Good Moment bites back, unveiling ‘hidden’ abuse and showing that Ruby (representing all women) are not weak, feeble beings willing to put up with the David’s of the world.
The film’s captivating intrigue does not stop at the proverbial narrative buck as Perfectly Good Moment is secondarily adorned with hauntingly raw camerawork that both captivates and intensifies the emotional richness of the story. Greenhall, along with cinematographer Matt Braunsdorf exercise the hazy, deadly romance essence with each frame basking in a dream-like aura that takes advantage of the film’s warm, almost autumnal lighting to create a landscape visually quaint with harmony; which stunningly and strikingly juxtaposes against the film’s brutal, harsh, and sinister undertones.
As if the atmosphere and hazed tonal qualities were not enough, the film further aggravates the impassioned emotionality of it all through the intricate and touching performances from leads, Stern and Carlilse. Together the duo enact a candid relationship, where the vigour of the striking story thrives, propelling Perfectly Good Moment to be a work that truly stands out.
Check out the full festival programme and get your tickets her
Not afraid to plunge right into the deep end of found footage with all of its night vision, shaky cam, and frightful all-of-a-sudden scares is Jack Dignan’s ‘Puzzle Box’, a tale that takes its title literally, with a plethora of enigmas, twists and turns.
Proceeding on from Dignan’s well received 2022 feature ‘After She Died’ is this harrowing horror that follows substance abuser Kait (Kaitlyn Boyé) who is joined by her sister Olivia (Laneikka Denne) as they travel to a secluded house for kait to self-rehabilitate. However, the house’s design begins to shapeshift, becoming an inconceivable labyrinth of a puzzle box…
Taking heed of found footage’s intensive firsthand gaze that deeply immerses the viewer into all of the gritty action is Dignan’s vigorous approach to the unmediated, direct gaze of point of view horror. Whilst carefully teetering around the spoilerific details, during the peak of the action, the camera (yielded by Kait) tours through the house, frantically working around corners and daunting hallways as the building becomes a metamorphic puzzle box. Whilst the context of a tangled house is chilling enough on its own, what deserves a credible mention is how these sequences are seeping with startling images, well-timed jumpscares, and an uncanny creature-like, bloodied woman who stares and screams right down the camera at us.
The unremitting sweep of emotions felt during Puzzle Box is further fleshed out by the film’s rather robust sense of introspection that forces one to confront their own ensnared position. As Puzzle Box unravels and the dynamic between the almost malleable house and the horrors of addiction come to light, Dignan meticulously crafts a psychical representation of what it means to be trapped, figuratively putting onto screen how easy it is to fall into the tangled maze of our own minds.
Puzzle Box is a horror film that makes you gasp, shriek, recoil in suspense, and quite powerfully makes us confront our own worst fears about being entombed in our worst nightmare.
Check out the full festival programme and get your tickets here!!
Botched body modifications, mysterious vampires, deadly honeytraps and a rib-tickling reincarnation of Mary Whitehouse all emerge from this not to be missed, wickedly twisted, anthology feature.
Bounding these terrifying tales is the overarching premise of an evil video shop housing the VHS-esque short stories, with the crypt keeper of the store (Martin Payne) and his menacing layer providing the perfect backdrop for the unhinged, riotous and absurdly gruesome shorts to come to life. Video Shop Tales of Terror houses some truly exemplary exmaples of indie filmmaking, rife with gnarly effects that will satisfy hardcore gore hounds and more than enough side-splitting laughs.
One aspect that immediately sparks interest is how individualistic the films are. Not at one moment do you know what is going to happen next, as we are taken from a tale showcasing a gothic victorian story of a troubled asllyum patient to the audacious ‘Chode the Toad’ featuring none other than Laurence R. Harvey (The Human Centipede 2) .
Bestowing the motley crew of themes is the extensive list of talented filmmakers who all embolden the throwback aesthetics of Video Shop Tales of Terror. Creators, Alexander Churchyard, Michael Fausti, Tom Lee Rutter, Sam Mason Bell, MJ Dixon, Andrew Elias, Geoff Harmer, Tony Mardon all embody that quintessential video-nasty ‘feel’ of the film, epitomising the grungy, exploitative, macabre aesthetics of 1970s/1980s horror.
The segments and fake trailers have a ubiquitous air of originality that further clarifies every filmmaker’s dedication to the genre; essentially, the film is a clear love letter to horror madness. It is an anthology feature that is made by horror fans for horror fans. And no matter what segment you land upon, the enthusiasm for the weird and wonderful dark world of terror and trepidation is always made abundantly clear.
Check out the full festival programme and get your tickets here!!
From the director of the award-winning short Belfast 1912 is Dominic O’Neill’s blast to the past Haunted Ulster Live, an epically spooky venture into a television broadcast gone wrong.
On the night of All Hallows Eve 1998, seasoned TV personality Gerry Burns (Mark Claney) joins forces with children’s presenter Michelle Kelly (Aimee Richardson) to solve the ghostly occurences in a Belfast family home. After the live seance goes array, the set is turned into pure mayhem, resulting in an abduction that leaves Gerry and Michelle to face with their worst nightmares.
Anyone and everyone will remember that shocking night on the 31st of October 1992, when we saw the likes of Michael Parkinson, Sarah Greene, Craig Charles, and Mike Smith succumb to the most horrific paranormal activities. Or at least that’s what we were made to believe. Ghostwatch’s iconic nationwide prank of a faux on-air seance has gone down in history as one of the most beloved hoaxes that fooled and startled an entire nation. However, now 31 years later, Ghostwatch finally meets its match with Haunted Ulster.
This mockumentary broadcast is the epitome of a riveting experience from start to finish, guiding us by the hand as O’Neill takes us on a cinematic ghost ride brimming with chilling exploits and a barrel of laughs to match. Every scene is met with a perfectly paced step further into the exciting happenings, with Gerry and Michelle being thrown through the rings as they delve deeper into the strange mysteries, leading to quite the finale that takes us through the realm of senses, leaving us anxious to the core.
The bursting suspense is attributable to the diegetic lens in the form of a miraged mockumentary-televised special that meets found footage feature, with O’Neill weaponising the inherently eerie nature of the firsthand camera to create a riptide of believability that truly mimics our sense of reality in the most sinister of manners. The self-reflexivity does not stop there, as the film is flush with a corpus of socially aware themes. Haunted Ulster’s Northern Irish setting, particularly with its 1998 timeframe, was rife with the fallbacks and tragedies from The Troubles, leaving the landscape haunted by socio-cultural ghosts. Whilst the film chills with its paranormal backdrop, there is a commendable undercurrent of politically conscious events that panic us on a whole other level.
Haunted Ulster’s expressive descent into harrowing antics makes for an uncanny experience rampant with plenty of Halloween-themed zest that creates the perfect spooky-season must watch!
Check out the full festival programme and get your tickets here!!
The daunting prospect of loss is one that is immune to none; it’s the lingering sense of doom over the injustice of life, the haunting conclusion that we all face. Yet, what if we could banish that dread and thrive in the comfort of blissful existence? This is precisely the colossal scope that Tariq Sayed’s debut feature film Issac considers.
This must-see feature follows Nicholas (Johnny Vivash) and Sarah (Kathryn Louise), a couple plagued by the death of their child to a genetic disease. In the throes of misery, they join a clinical trial that produces perfectly healthy genetically modified infants. However, it is not long before their new son Issac begins to act increasingly erratic, leaving the couple no choice but to unearth the terrifying secret behind it all.
Issac flourishes in its soul-tarnishing narrative that explores how far scientific innovation is willing to go to achieve greatness and how the cruel fates of turbulent nature may not be so inferior after all – akin to a Black Mirror episode, but on steroids! Within this same vein, Issac takes heed with its futuristic talons and dares to expand past archetypal sci-fi probings and entwines a brutal strain of reality against the fantastical backdrop.
Sayed unravels the film in an inherently familiar but chilling environment, the British countryside, which is equipped with all the ominous scenery that woodland habitats innately emit. There is a fitting lack of eccentricity that would have otherwise over-embellished the impeccably written story; instead of soap opera dramatics, the naturally isolating forestry and closed cast act as engrossing prompts for the chaos to ensue.
Furthering the stunningly nihilistic tonal palette and applaudable cinematography are the fantastic performances from Vivash and Louise, who both ignite the screen with passionate portrayals of parents pushed to the absolute limit. Additionally enriching the film are appearances from the likes of Catriona MacColl, who was a regular Lucio Fulci collaborator, with the actress featuring in classics such as The Beyond, City of the Living Dead, and The House by the Cemetery.
Isaac is a brilliant addition to the world of independent cinema, an ode to the vast capabilities that indie horror consistently offers. Sayed is a creator that should be on everyones ‘to-watch’ list, with the praiseworthy director currently developing more exciting projects to be unveiled in the future…
Check out the full festival programme and get your tickets here!!
Conjuring a film permeated with a terrifying, unforgettable tale is Sins of the Father, a work of mysticism from the director of the Oxford Comma Film Cooperative, Vanessa M.H Powers.
Aden (David Michaeli) and his mother, Sarah (Nora Targonski O’Brien), are faced with the daunting task of selling their old family home, a place filled with troubled memories. In the midst of making the house barren, they discover a mass of menacing secrets…
The film’s diegesis is utterly imbued with an omnipotent nature that calls to one of cinema’s finest keynotes – folk horror. The horticulture of folklore that runs throughout Sins of the Father creates an enchanting landscape brimming with eerie lighting and an unearthly sense of isolation that makes the film’s sinister reveals even more threatening. Seconding the nexus of deadly folkloric tones is the intricate writing from Tristan M. Corrigan, whose blisteringly chilling script absorbs us into the foreboding antics and creates a beyond ominous experience we won’t ever forget.
It is to no avail that independent film is the backbone of cinema, purporting the veins of filmmaking and ensuring that the brilliant minds such as that of Powers are able to translate their visions. When it comes to Sins of the Father, we can see the beauty of homegrown horror on every inch of the screen. The performances are powerful and an ode to dedicated acting, the setting is quaintly complex, and the cinematography is intense, as each frame seizes our attention.
The labyrinth of distressing familial undertones is perfectly suited to the likes of Hereditary (2018) and Relic (2020), particularly in the sense of how the deeply embedded lines of generational trauma can have the ability to inflict a sense of harm across every inch of one’s life. Sins of the Father is uncomfortably confrontational, taking heed of its own uneasy atmospheric tone to create a film wrapped up in terror and trepidation.
Check out the full festival programme and get your tickets here!!
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