Scopophobia: the daunting fear of being watched. This anxiety-inducing sense of being eyeballed by someone or something is what filmmaker Aled Owen’s feature chronicles and captures throughout the intense, cryptic and thrilling Scopophobia.
Rhiannon (Catrin Jones), Erin (Emma Stacey), Mia (Ellen Jane-Thomas) and Sam (Bethany Williams-Potter), a once tight-knit group of friends, reunite in their home town of Milton, Wales, ten years after tragedy struck the group. However, amidst the merriment of the reunion, secrets arise, and terror ensues.
This grassroots horror feature is an independent horror in every respect. From the fundraising campaigns to the budding cinema-centric crew (all of whom are a group of passionate, talented individuals), along with the production being filmed on home soil, is all part of what makes Scopophobia the authentic, creative horror it is. The film weaponises the freedom that comes with indie filmmaking, with Scopophobia flaunting an innovative remixing of traditional narrativisation, throwing viewers onto the unbeaten path more than once, conjuring masses of grippingly suspenseful sequences where riveting unpredictability thrives.
The rampant twists and turns are best kept stowed away until the lucky viewer watches them unravel on the big screen. As a rule of thumb – leave any expectations at the door and enjoy the electrifying ride from start to finish.
Just one of the many ways Scopophobia excels is the film’s epic scoring. Featuring throughout is a powerful synth-focused sound, mixed with a pulsing beat that is reminiscent of that nostalgia-driven 1980s sound, but without being an imitation. In fact, the music has an entirely original undertone that compliments Scopophobia’s organic distinctiveness.
This retro but futuristic style was produced and composed by Welshmen Lloyd Morgan, also known as DJ Keltech, whose noteworthy arrangements work to propel the electrifying film to an even higher level. Joining the soundtrack is GG Fearn, a dark pop musician whose shadowy, Celtic-driven songs permeate Scopophobia and provide a source of punchy, haunting and baroque flair to the film.
Both artists were found either through previous connections or social media, which speaks to the entire homegrown quality that Scopophobia rightly prides itself on. The film is heavy on its regional talent, with many of the cast, like the sound artistry, being acquaintances in some form prior to filming.
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.
Catch the film Saturday 28th September at the 2024 festival, tickets and details here.
