We had an absolute blast at Dead Northern Horror Film Festival 2022! Take a look at some of the highlights from our award day 24.09.22.
Film makers and film fans grabbing a refreshment in between screenings.
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On a Halloween night out, a group of friends attend an immersive haunt. Little do they know that the spooky theatricals hold a deadly threat.
Over the years, innocent pumpkin carving traditions and trick-or-treating have been overshadowed by the budding extreme ‘haunts’ experience; promising bone-chilling frights in a controlled environment. However, amongst the rise of these attractions, there has been an ongoing conspiracy regarding the limits these haunts will exceed. Beck and Woods deliver possibly one of the most frightening and uncomfortably realistic takes on a ‘house of horrors’ narrative. With an ambiguous motive and nightmarish boogeymen wreaking havoc on the ragtag group, Haunt ensures that no audience member will be left unscathed after 90 minutes of electric, intense scares.
A team of high school students host a seance inside an abandoned funeral parlour as part of a Halloween party.
Teens finding themselves trapped in a cursed, isolated location is not unfamiliar territory for any viewer, yet Night of the Demons manages to subvert that sense of familiarity to distract and tease with already formed expectations before delivering one hell of a disturbing third act. The instigator of the terror, Angela Franklin (Amelia Kinkade), has become a staple for 1980s horror, with her eccentric antics embodying the film’s zaniness and natural ability to launch a tidal wave of gory fun. All of the animated absurdity is balanced with the madly creative practical effects that range from grossly infected skin to graphic eye gouging.
The travelling theme park ‘Hell Fest’ promises the ultimate ghoulish experience, however, all hell breaks loose when a masked killer transforms the carnival into their own murderous playground.
The adrenaline-pumping nature of theme parks during fright nights is enough to summon a scare-ridden horror on its own, however, rather than Hell Fest simply relying upon the innate creepiness, Plotkin adds in immersive set designs, gloriously disturbing kills, and an almighty, ominous force behind the lead antagonist (known as The Other). The sheer ferocity of Hell Fest thrives on the pedal to the metal detailing that refuses to slow down or ease off at any point.
On one fateful Halloween night, Patrick ‘Trick’ Weaver manages to escape from the police after massacring his classmates at a party. Despite Trick’s ‘deadly’ wounds, a masked killer continuously reappears every Halloween. Has Trick somehow survived or is there something much more sinister at play?
Like a nostalgic driven 1990s thriller, Trick continuously convolutes with its cryptic plot that will have the viewer in an eerie mind spin decoding the mystery within. Lussier, known for editing the Scream franchise (1-3) and directing the 2009 remake My Bloody Valentine, comes his take on a Halloween-centred horror. Akin to the judicial background of a Saw thriller is Trick’s richly entwined story that doesn’t just wallow in vicious kills, it also delves into the rocky territory that follows with the horrific aftermath of massacres. Joining all that fleshy exposition are the intense Halloween elements that refuse to let you forget that Trick is a film dedicated purely to the allure of spooky season itself.
In the aftermath of Michael Myers (Jonathan Prince) and Laurie Strode’s (Jamie Lee Curtis) bloody battle it is revealed that Myers escaped, leading Dr. Loomis (Donald Pleasence) and Strode to kill The Shape for good.
With the original Halloween creators Debra Hill and John Carpenter taking on the writing duties, and first time feature director Rosenthal’s eagerness for the film to be dedicated to its predecessor, Halloween II has become somewhat of an absolute staple amidst the franchise’s thirteen films. Halloween II is where Myer’s long and dense evolvement starts, with the film bashing apart his banality through injecting an interesting and at times contentious backstory for his motives; nevertheless, this sequel is brimming with creative kills and immensely tense chases that seem to take the unpredictable route at all times.
On a quest to create the most terrifying Halloween house experience, a group of professional ‘haunters’ take over the Abaddon Hotel, known for its horrifying incident that occurred many years prior.
With Halloween being the time of year where horror-hounds seem to be the most at home, it can be difficult to watch a film that continues to scare even after multiple watches- This is where Hell House comes into focus. Cognetti’s concoction of bitterly cold, spine tingling terrors will have even the most habituated horror fans sitting on the edge of their seats. The premise of a haunt gone wrong is now a classic trope, that when done well can make for a remarkably memorable film. Hell House takes the classic idea of ghostly apparitions and dark hallways to conjure awfully realistic scares that make for an unforgettable finale.
Four Halloween-themed connected stories show the consequences of breaking Halloween traditions.
All Hallows’ Eve would not be complete without a screening of Trick ‘r Treat, possibly one of horror’s most infamous cult films in recent years. Every little detail within Dougherty’s spooky extravaganza is doused with ghostly, autumnal motif’s, whether that be pumpkins and fall leaves dressing every street, auburn lighting glowing throughout the set, or the film’s central character, Sam (Quinn Lord), who is sure to put tradition breakers in their place. The seasonal decorations are infectious, even putting Halloween Scrooge’s in the haunting mood.
The sinisterly minded Art the Clown (David Howard Thornton) terrorises a group of people on Halloween night.
Art’s history goes way back to the short film ‘The 9th Circle’ (2008). Fourteen years later, horror’s most vicious clown has become one of the most notorious villains in modern horror. Terrifier both perfectly captures the chaotic brilliance of Art and tests how far he is willing to go to create ultimate destruction. Healthy doses of sawing into hanging bodies, face eating, and mutilation take over the screen making it clear from the beginning that Terrifier is not here to tease. If abundances of gore and a maniacally twisted time is what you’re after, Terrifier has to take the crown at your Halloween movie marathon.
A ragtag group of carnival workers are taken hostage before having to fight tooth and nail to survive the night.
Rob Zombie is no stranger to the horror scene whatsoever, with his barbarically minded films such as House of 1000 Corpses (2003) and The Devil’s Rejects (2005) creating incredibly detailed worlds for the vivaciously cruel characters to thrive in. 31 takes the audience through bloody and awfully offensive grounds like a filmic rollercoaster to deliver a fright to remember. The film puts the abducted group through various battles with a motley crew of slighting antagonists including Doom-Head (Richard Brake), who makes Zombie’s Captain Spaulding (Sid Haig) and Otis Driftwood (Bill Moseley) seem PG-13!
(Directed by Darren Lynn Bousman, Axelle Carolyn, Adam Gierasch, Andrew Kasch, Neil Marshall, Mike Mendez, Dave Parker, Ryan Schifrin, John Skipp and Paul Solet, 2015)
Ten interwoven stories focusing on ghoulish monsters, devils, aliens, urban legends, and mad men band together to create a creepy anthology tale.
Tales of Halloween manages to cram ten grisly stories into a 97 minute time frame, all whilst remaining original, exciting, and most importantly scary. Anthologies have an innate way of having something for everyone, leaving Tales of Halloween to thrive in its own variety. Accompanied by a self-aware comedic atmosphere, the film utilises the short runtime of every story to create a quick to the point punch that results in equal levels of laughs and eerie vibes.
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In Dreams Are Monsters is the latest theme for the BFI’s Blockbusters season. Unveiling the rich history and nightmarish lore that the horror genre thrives in is the basis for this upcoming tribute to the dark world of cinema.
Deriving from the midst of macabre works is the unique sensation that horror exudes, whether that be in ghastly supernatural tales such as Japan’s Ringu (1998) or the transgressive feat of Hellraiser (1987), the film can exasperate the true terrors that lie in societies wake through a lens of obscurity and trepidation. Across the wide spectrum of audiences, the promise of fulfillment is a big statement that In Dreams Are Monsters does not falter upon. In fact, the programme braces the screen for a frightful assortment of features that takes full advantage of horror’s ubiquitous nature. There really is something for everyone.
Diving deeper into the programme unveils the vast array of themes that have been meticulously curated to conjure a tonal palette reflective of five mythical horror archetypes and the consequential themes that marinate within the models. The beast, ghost, vampire, witch, and zombie delve into the bottomless pit that horror manages to explore through a socially equipped lens, defusing the everyday with assiduously constructed terror. The patterns of the witch denote a threat to the patriarchy, redefining the grossly strict hegemonies that disavow gendered power. This sense of obscurity is also unearthed within the vampire, sucking the life out of others in a strange bid for both life and eroticism within death. Likewise, the beast, ghost, and zombie release a trajectory that aims straight for the apex of societal uphold–monsters may be mythical, but monstrosity is everywhere.
The arrangements of the programme are tailored by the likes of Micheal Blyth (BFI Festivals, senior programmer), Kelli Weston (Writer), Anna Bogutskaya (writer/broadcaster), alongside Jason Wood (BFI Executive Director of Public Programmes & Audiences).
Screening alongside triple bills featuring Blacula (1972), Ganja & Hess (1973), and Def by Temptation (1990); the showings of classic monster movies such as Frankenstein (1931), Creature from the Black Lagoon (1954); and even contemporary staples namely Under the Shadow (2016) and The Lure (2015) is a range of guest appearances. Oscar-winning filmmaker Danny Boyle graces the stage for a Q&A following the 20th-anniversary screening of 28 Days Later (2002). Joining the season for conversations and commentaries are Kier-La Janisse (author of House of Psychotic Women [2012]), Lesley Manning and Stephen Volk in a Q&A for Ghostwatch (1992), and Clarence A Peters introducing the premiere of his new television drama Inside Life (2022).
The immensely packed programme also features a special edition of Mark Kermode Live In 3D, as well as the horror podcasts Evolution of Horror, Brain Rot, and The Final Girls welcoming their commentary on the impact of horror.
With In Dreams Are Monsters travelling all the way into December, selected events will be taking place, including the BFI IMAX cinema being converted into a spooky summer camp for an all-night sleepover, where guests will be marathoning cabin-themed slasher films!
More details on all the screenings and events here
Moving on from the murder of her husband, Amanda (Jennifer Preston) and her teenage daughter, Karli (Isabella Percival) up and move to a tranquil bed and breakfast situated within the rural countryside. However, their tragedies are only furthered by the arrival of Kyle (Damien Ashley), a mysterious guest. Kyle begins to go into a downward spiral, haunted by a sinister force.
The Stranger tightly grasps onto the fragility of a broken family as a vessel for unearthly horror to seep through and thrive amidst the already brittle dynamics. Through unmatched writing that puts the audience through one of the most nerve shredding 80 minutes of their life, through to the startlingly graphic effects, The Stranger is a wickedly cruel feat that should not be missed.
The directorial team behind The Stranger is made up by Mike Clarke and Paul Gerrard, who respectively join forces to conjure a bone chilling tour de force that was entirely shot in the UK. Clarke’s keen eye for thrilling filmmaking is clear in many of his previous projects, including the acclaimed A Hand to Play (2013), which featured Hellraiser’s Doug Bradley, Paper and Plastic (2013), and Love’s Innocence Lost (2016). Gerrard is infamous for his originality, peppering dystopian, mind-augmenting themes throughout his work as seen in his conceptual designs for The Hole in the Ground (2019), The Dark and the Wicked (2020), and The Reckoning (2020).
Their track record of outstanding works is made even more prominent thanks to The Stranger, which helps lead the way for modern, indie horror. Every strain within the film, whether that be the mystifying visuals, the looming sense of dread, or the sensational performances by Ashley, Preston, and Percival, the film captivates.
The invasion of the body and space is a prodigious element in macabre cinema, with the threat of one’s annexe being claimed, alerting an immediate spike of worry in even the most tenured of audiences. The melancholic air of loss that Amanda and Kari emit due to their recent experience of death adds to The Stranger’s enigma, combating the refusal to follow in the footsteps of generic invasion movies with formulaic backstories. Instead, Clarke and Gerrard channel the unexpected at every approach possible. No matter what direction The Stranger insinuates, there’s always an unexpected corkscrew in the road.
The vigorous leaps and bounds that the film chronicles is assisted by the setting, atmosphere, cinematography, sound, lighting, and effects. The isolated restraints that the wilderness holds is a tool within its own right. Gerrard and Clarke fully take advantage of the vastness to further place the characters in an even more vulnerable state. Encapsulated by the camera that surveys the emptiness is the eerily dark tone that washes over the film like a grim shadow of death, straight away setting the mood for melancholy and menacing antics to prosper. As the film reaches the moment of truth, a barrage of sheer sensation, both emotional and psychical, of panic is unwillingly forced.
The Stranger is a symphony of horrific excellence, dominating the screen and marking its place as one of 2022’s most exciting features.
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Three Ways to Dine Well chronicles the contentious history of female filmmakers throughout horror and the significance and traumatic instigation that is bonded to cinematic expressions of eating.
Horror film specialist and all around expert Alison Peirse created this video essay to reignite the spark that many genre fans have for classic films, but under a reviewed, contemporary perspective that shows the true creators behind these cinematic feats. In showing and recognising the cavernous underground that many viewers may not have been aware of, Three Ways to Dine Well opens up a door for itself as a monumentally important piece of creative research that deserves study, acclaim, and a form of remembrance for assisting in the progress of representation for aspiring filmmakers and similar personnel.
Throughout the curation of events, Peirse tours a wide berth of films to use as subjects, with Three Ways to Dine Well probing into the background of atypical slashers, obscure Japanese cinema, feisty monstrous feminine numbers, classic exploitation flicks, and boisterous vampire feats, all within the context of the crucial gravity that eating has always demanded in horror.
This bold and impassioned expression of an already vexed subject of on screen dining from women paired with the readdressed crediting makes Three Ways to Dine Well wholly prodigious and a feast for all senses.
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On a bright sunny day a young man (Håvard Sveberg) goes on a walk through the rural countryside, however, out of the blue various unsuspecting neighbours start rapidly chasing after him. On the Inside chronicles the quiet truths that lurk beneath the surface, no matter the serenity of the situation. The breezy openness of the setting combined with the ferocious score that amplifies the heart rate, valiantly delivers a visual and audio feast for the senses; particularly when the tense fight or flight scenes are composed in such a way that they harmoniously juxtapose against one another to create a frightfully memorable experience.
Trapped inside the confines of a houseboat, a woman (Malou Coindreau) becomes terrified and haunted by fear itself. Incubus unfolds the gradual progression of terrors that manifest within the self. The inspiration for Tito Fernandes’s short film derives from the increasing levels of violence towards women in a modern day society that boasts a falsified safety. Incubus works its way around a purposefully perplexing narrative that dives into inner traumas and the battle with the most devilish person of all, our own mind, to ensure that the ghastly horrors pack a punchy fright, which is all emphasised by the unique setting and incredible performance by Coindreau.
After Lily (Sabrina Stull) suddenly loses her hearing, sinister occurrences begin creeping out from the dark, traumatising and unearthing a menacing experience. The Sound utilises the classic storytelling device of two friends enjoying each other’s company one night before a strange sound makes itself known, leading to dire consequences. The familiar basis purposefully lures the viewer in, only to violently disrupt any sense of knowing, leaving you shaking with fear. Conjuring The Sound’s cruel execution that will even send a shiver up the most stern audience’s spine is the ominous and ubiquitous dread that plays on our most inner fears. Evil will find you, no matter what…
During a stormy night, Joven (Helena Puig) wakes to find her house has mysteriously transformed into a surrealistic myriad, with a foreboding unknown creature lurking amidst the chaos. Unheimlich pronounces its stern replication of a nightmare from the very beginning, with the utterly bewildering maze-like environment fashioning itself as a sinister underworld where gruesome creatures are no stranger to such schemes. The expressionist goals set by Fabio Colonna are truly met thanks to the thrilling story that will leave you guessing your own reality long after watching.
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Joshua (Oliver Powell) finally gets to meet Eric, the seemingly adorable dog of the girl he’s been recently seeing (Jemma Moore). However, as the evening continues, he gets the sneaking suspicion that Eric is not the normal house pet. The world of modern dating can be a proverbial war zone, battling through strange encounters and even stranger people, or in this case, peculiar pets. Eric takes advantage of the innate dark and satirical humour that comes from a clever and mischievous creature feature.
After being bitten by one of those snappy creatures that seem to be everywhere, Kevin (Keith Singleton) takes a trip to the pharmacy to see if they can be of any assistance. Dispensary of Death is a hilarious take on the classic undead movie monster that tackles the lack of humanity amidst tragedies all whilst throwing in laugh-out-loud gags and devilishly gory practical effects.
A graduate student (Leo DeFriend) interviews a young caregiver (Tara Rose Schreiber) for a class project, however, something just isn’t right. With the micro time frame, the eerie performance of an unhinged woman, and the closely bound setting keeping the set confined and inescapable, Rafael De Leon Jr. devises an incredibly unnerving short horror that forces the audience to sit and wait in terror for the frightening conclusion.
Sandra (Julia Atkin) discovers that her skin is covered in unknown bug bites, leading her to uncover a terrifying secret lurking right beneath her. Body horror and creature features are a match made in horror hell, with the repulsive factor and creepy-crawly frights working together to deliver shocking scares that will make your skin crawl. Bug Bites sheds impactful practical effects that would make Tom Savini proud, as well as delivering a punchy ending that both startles and deliberately bewilders.
Sam (Sophia Capasso) returns home one day to find that her sister Caitlin (Annie Knox) has developed a strange illness. Sucker maximises the fear that stems from body modifications and the sickly texturisations within horror. The direction from Alix Austin is rooted within the contortionist structure of the film, with the threat of something alien taking over your own being without any hesitancy creating a generalised and strong sense of fear.
A young waitress working at a diner has a gut feeling that something menacing is going on behind the scenes, however, before she has the chance to break the secret unseen evil forces get in her way making a bloody mess. From the outskirts All You Can Eat thrives in the traditionalist diner aesthetic brimming with neon glows and shiny surfaces, making the film a visual success. But the glory doesn’t stop short as Kieran Reed creates a rhythmic spectacle using an insanely impressive mix of practical effects and a rip-roaring narrative that has the pedal to the metal the entire time.
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Beth (Kelly Lamor Wilson), like many twenty-somethings, has become obsessed with the capabilities of filters, however, the insidious truth lurking behind one particular filter leaves her to question what true beauty really is. Body dysmorphia on its own can be a horrifying experience, yet Nathan Crooker manages to even further flesh out the degrading internal policies that social media have created, exemplifying the alarming relationship between the digital era and perishing humanity. #Nofilter digs deep within its own message to question the beauty barriers whilst also conveying a keen sense of panic through the personal confines of desktop horror.
A photographer (Josefin Asplund) takes on an assignment to shoot a cemetery situated in the forests of Stockholm. Whilst capturing the beauty of the landscape, she sees an elderly woman (Karin Bertling) placing a lantern on a grave. To capture the moment she takes a picture, but she soon discovers that this one action will unleash a world of horror. Nature at heart can be both blissful and haunting. Niels Bourgonje understands the emotional balance that comes from rooting a narrative within the deadly sins of the unknown. Amongst the haunting story is the stunning cinematography that makes use of the natural setting, along with the melancholic score that compliments the intense themes and challenges the viewer.
In a dystopian future ruled by the power of social media, a pair of users are placed on trial via live stream to investigate their breaking of online guidelines. If they fail to convince the online jury of their innocence, their profiles will be horrifically deleted. The Black Mirror-esque setting is becoming more and more prevalent in modern society, ruling the online structure to be almost god-like. Mr. Valents toys with the worrisome power that socials hold, by escalating the diminishing sense of humanity and exposing the trivialities of online profiles. Ask Me a Question plays out as both a wickedly harsh warning tale and a satirical ploy that taps into looming fears.
A father (Tom Slatter) finally gets to sit down for the night, however, that all changes when the baby monitor starts picking up an unknown presence. Baby Monitor precisely envelops every aspect that makes a short horror film momentous, gripping, and most importantly terrifying. The minimalist approach that doesn’t go overboard on one-trick scares is what allows Stefan Parker’s entry to stand out, he refuses to reveal the ominous force straight away, instead, the film marinates in a complex certainty of terror that reaches a nerve-racking peak just when you’re not expecting it.
Just when a security guard (Edward Linard) thought his night couldn’t get any worse, an unexpected thief that looks exactly like him begins robbing his bank. Alia Sheikh delivers an action-packed tale of duplicity, sharp moral examinations, and what it means to doubt your own instincts. Overwrite cleverly examines the spiraling mind by positioning the viewer in a place of constant doubt where they remain anxiously waiting in the dark for the truth, whilst being emotionally and physically conflicted at every point due to the claustrophobic inducing score and the dynamic performance by Linard.
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After finding an abandoned mannequin, a young man soon realises that something isn’t quite right. Mannequins by nature are entirely eerie, with their intimidating stature and blank expression mimicking the familiar human form, thus embodying a sinister emptiness, unlike any other being. Lee Francis uses the inanimate form to showcase an inventive take on haunted horrors, along with refreshingly sharp editing that knows when to cut quickly and when to let the tension slowly brew.
Clover and its citizens have been invaded by a strange virus, forcing reality to become abandoned. The Lacuna Virus rises above the capacities of human comprehension, slowly unveiling the viewer’s awareness of the situation thanks to the hypnotic-like aura composed of deliberately miserable sounds and terror-filled visuals that force an inescapable sense of unease. Jude Brownhill mitigates dystopian sensibilities that replicate strong emotions of loss all within the short time frame to create a film steeped in a horrifically memorable atmosphere.
When Jane’s (Louise Millington) over-controlling father suddenly arrives home whilst her boyfriend is visiting, she makes the ultimate decision between confronting her abusive father or keeping her secret. No Place Like Home radiates such high levels of professional production value that Louisa Bablin’s could turn this short into a full feature with ease. The grand setting allows for staggering lighting and cinematography to shine, encapsulating the velocity of the narrative whilst still remaining appropriately and effectively claustrophobic during the intense peaks of the film.
In a clinical white room, a large box delivers a baby where its eternity is spent within its confinements. La Boîte is possibly one of the most purposefully discombobulating, yet spellbindingly entrancing short films that absorb the audience’s full attention for the entire film. The sheer abandonment of the real world throughout intensifies the horror and hostility. Accompanying the antagonistic landscape is the stop motion technique that serves to increase the surrealist vibe.
The ghost of Sam’s (Beathan Gurr) mother comes back to haunt her. Dark Red retells the tragedies that come with losing a parent, but more importantly, Django Watkins illustrates the horror that dramatically takes over when grief rises to the surface. The essence of Sam’s trauma cathartically fleshes out the film’s unique portrayal of haunted souls, alive or dead, through positioning the terror within an enclosed setting, a focus on close-up cinematography, and unbelievably impressive effects.
Janis (Jane Lu) has been hiding a monstrous secret, but it’s not long until it comes back to haunt her. Janus merges a creature-based narrative with a dramatically refined psychological horror essence to exude a tale that flourishes within its own pageant of variety. Priscila Carvalho Vailones exercises the freedoms of independent cinema through the lack of easy jumpscares, instead Janus gradually climbs the ladder of terror, resulting in an impossibly tense climax that will certainly take the viewer on a rollercoaster of emotions.
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When a lazy student (Alexander Moriarty) refuses to take recycling seriously, the ‘rubbish’ comes back to haunt him. Bin Man both reminisces and reclaims the classic irreverent movie monster; reinventing the b-movie ingenuity that creates cult classics. Jack Berry ignites a fresh satirical flame for the short cinema paradigm, whilst still keeping Bin Man comical and thrilling.
Two evil forces battle over a woman’s (Adriana Torrebejano) unborn child, threatening all of mankind. 665 plays god with the audience, continuously shifting sides between the antagonistic forces. Throughout the bloody battle of mind games, fervent visuals, and graphic performances Juan de Dios Garduño’s talent for producing sheer ferocity is clear; not at one point does the terror bar lower, establishing 665’s positioning as a model short horror film.
After a strange and dark night, a witness to a bloody ritual begins to slowly lose their sense of reality. Gus Fink is known for his distinctive art that is in a class of its own, with the animations as seen in Odessa’s Riddle being both haunting and impossible not to admire. From the very beginning, the atmosphere is eerie and abnormal, paving the way for horror to ensue. However, just when you thought the freaky events have reached a peak another blood-curdling mountain is waiting ahead, leading to one of the most unsettling and certainly grisly endings that would give the devil himself nightmares.
Léo (Andrea Maggiulli) is reluctant to attend summer camp. When the time to go looms, an imitating sinister presence makes itself known. Colonie laments the fears that everyone subconsciously has. The mirroring of your identity represents your darkest self, where your most sordid opinions can arise to a reality that’s no longer hidden. Colonie tackles this heavy subtext with an air of ease, with the operatic score tiptoeing the edge of surrealism and the cinematography constructing a richness that embodies the complexities of a full-length feature.
One night a widowed man visits a medium to get down to the bottom of his disturbances, however, what they uncover is more than they had bargained for. Stop motion animation can be a home for atypical horror to thrive, with Joe Deadman’s take on a dreamlike seance being a pioneer within alternative filmmaking. The tangible essence of To Raise Her Spirits, particularly due to the supernatural aura, entrances due to the uncanny quality, whilst also keeping the entertainment factor high with the off-kilter humour moulding an outlandish experience that is impossible to forget.
When an antique dealer (Andrew Dunn) comes across a cursed penny, he ends up haunted by a hellish force that refuses to take no for an answer. With films such as Standing Woman (2021) and Zomblogalypse (2022) being just some of Tony Hipwell’s credits, it’s of no surprise that Bad Penny is the full ticket. The film gradually brews a lingering horror that refuses to give up, making the viewer wait in anticipation for a terrifying scare to be unleashed.
After years of abuse from her toxic partner, Marina (Eleanor Nolan) finally gets her revenge. Retribution takes its time in fleshing out a backstory to expound the treacherous territory behind Marina’s actions, before delivering a hardcore, harsh, and grungy climax that unveils an impactful soundscape and gnarly practical effects.
Check out the films and much more at this years festival, tickets here…
