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.
The Lacuna Virus (Directed by Jude Brownhill)
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.
No Place Like Home (Directed by Louisa Bablin)
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.
La Boîte (Directed by Tosca Branca)
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.
Dark Red (Directed by Django Watkins)
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.
Janus (Directed by Priscila Carvalho Vailones)
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.
665 (Directed by Juan de Dios Garduño)
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.
Odessa’s Riddle (Directed by Gus Fink, Lumo Aim, Laura Pendl, Elby Rogers)
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.
Colonie (Directed by Romaine Daudet-Jahan)
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.
To Raise Her Spirits (Directed by Joe Dearman)
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.
Bad Penny (Directed by Tony Hipwell)
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.
Retribution (Directed by David Duke)
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.
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An insight in to this years selection of slasher short films, showing at this years festival 24th September 2021.
Bloodshed (Directed by Paolo Mancini & Daniel Watchorn, 2020)
Bloodshed follows Getty (Bruno Verdoni), who is mourning the death of his wife after a vicious blood disease killed her. To cope Getty turns his ‘unusual hobby shed’ into a barbaric bloody altar in order to restore balance and search for redemption. The film opens with a sinister passage from the bible, explaining that “Without the shedding of blood, there is no forgiveness of Sin.” Hebrews 9:22. The scripture lines up this anticipation that whatever we are about to witness will be memorable, remarkably dark, and effective. Promising a film soaked in dread is Paolo Mancini and Daniel Watchorn, who together have created an unbelievably suspenseful film that manages to make twelve minutes feel like a feature length exploration into denial and the betrayal of the self
Overkill (Directed by Alex Montilla, 2019)
Overkill takes a story that is familiar at its roots, a group of college students take a trip to the lake, whilst unbeknownst to them a masked killer is watching their every move. But rather than rely on tropes to escalate the film, Alex Montilla shreds any predictability through creating a hilarious, laugh out loud story. Matching the eccentric flow is the exciting and captivating cinematography that revels in exposing how creepy a lone forest setting can be.
Fat Camp (Directed by Sacha Pavlovic, 2021)
Fat Camp is a dark comedy through and through which follows a typical slasher narrative, but with plenty of twists and turns along the way. The film follows a handful of men who are attending a so-called ‘masculinity retreat’, which obviously is a disguise for a ‘fat camp’. But Instead of getting in shape and being active, they are preoccupied by the return of an ex-camper who is hungry for their lives. The whole aspect of a camp and a mysterious killer is a clear nod at genre classics, including the unforgettable Friday the 13th (1980). Rather than recycle what we’ve already seen, creator Sacha Pavlovic gives us a fresh, fun, and brutal camp slasher that goes above and beyond the norm.
Hold Your Breath (Directed By Kameron Gates & Tommy Weber, 2017)
Hold Your Breath follows Molly (Emily Sweet), a young woman who seems to have a mysterious past, but her darker days are behind her. However everything is not as it seems after a midnight swim gives her the fright of her life. Hold Your Breath is feathered with incredibly rich cinematography that boasts stunning landscapes and personal close ups, creating this entangled world, very reminiscent of The Neon Demon (2016) and Starry Eyes (2014). Combine these inspirations with surrealist elements and an attention demanding setting then you have a stand out film that lingers with the audience.
Test Footage (Directed by Doiminic Evans, 2020)
Test Footage manages to do something that many short films are unable to achieve- creating a thrilling, tense ride all in the space of 5 minutes, using just one setting, and a small cast. We follow an actor as he runs through a script with a director for a potential role. The atmosphere is already slightly daunting due to the director’s menacing attitude, but the events become much more catasphrophic as a dark secret is unraveled. Test Footage is a claustrophobic film in the sense that the viewer is positioned closely to the horror, ensuring that the terror is entirely inescapable, making Test Footage a disturbing exercise into the nightmarish world of the human psyche.
Backstage (Directed by Lars Janssen, 2021)
Backstage is a visual feast that takes inspiration from the 70s rock and roll scene, followed by keen performances, lurid lighting, and a solid thrilling narrative. The film follows Margot (Charlotte Dawn Potter), as she searches for her best friend who went missing the same night as they met an acclaimed rock star. Across the entirety of the film we are not given a moment to breathe, with the ‘full throttle’ essence being truly exercised, but that’s not to say that Backstage doesn’t take its time in developing a shocking tale of deceit, outlandish characterisation, and unforgettable imagery.
An insight in to this years selection of creature short films, showing at this years festival 26th September 2021.
The Taxi Dead (Directed Simon Lahm, 2020)
The Taxi Dead follows Paul (David Zimmerschied), who must survive a horrible night alongside his Bavrian taxi driver Karl (Manuel Renken), as they join forces to battle against the great undead. Bringing us this gruesome zombie short is Simon Lahm who clearly knows a thing or two about creating a stellar creature feature. The Taxi Dead explores an area of zombie cinema that is crying out for more attention; the fact that the zombies are these gruelling beasts hungry for flesh is obviously terrifying, but when you combine this with the notion that mere hours before their ‘transformation’ they were normal human beings is entirely sinister. The film focuses on this idea that we are all monsters deep down. The Taxi Dead is unmissable and definitely a short film to be remembered.
Monsters Aren’t Real (Directed by Kristina Moschella, 2021)
We accompany Ebony (Michelle Randall) as she investigates a strange noise coming from inside her home, little do we know that much greater terror lies ahead. Monsters are children’s worst nightmare during childhood, with many having memories of checking under the bed and in the wardrobe to make sure that no ghouls crept in these crevices during playtime. Although we grow out of it, the idea of being alone with some macabre creature is still terrifying, and that’s what makes Kristina Moschella’s ‘Monsters Aren’t Real’ so spooky and reminiscent of good old fashioned horror.
Posted No Hunting (Directed by Alisa Stern, 2021)
Posted No Hunting is a bewildering, creepy, and disconcerting stop motion animated horror directed by Alisa Stern (also known as The Doctor Puppet creator). The film runs quickly with its runtime just hitting under the 3 minute mark, but do not be fooled as Posted No Hunting works alongside the quick pacing to deliver a purposefully questionable narrative consisting of a deer and a disturbing creature. Furthering Stern’s innovativeness is the ‘found footage’ technique in which the film is presented in, allowing for plenty of up close shots and fuzzy camera work that distorts and disturbs.
For Sale (Directed by Francesco Gabriele, 2020)
For Sale is a perfect example of a film that begins one way and ends up completely different, ensuring that we are kept in the dark and unsure of what to expect. The cryptic For Sale follows Carla (Octavia Gilmore), and Luca (Nicolas Vaporidis), a young couple who can’t keep their hands off one another, but their blissful relationship harbours a dark secret that bursts when they pick up a second hand tv from the mysterious Mr. Levi (Randall Paul). For Sale works through repositioning the horror from multiple angles throughout. The couple and the setting itself is suspicious, but then Mr. Levi also has his unusual quirks. Director Francesco Gabriele compliments these changing horror tones throughout the film by juxtaposing a picturesque rural setting of a quaint Italian town that is also drastically abandoned despite its appeal. Due to this we immediately sense a danger within the isolation, leaving us impatiently waiting to see how and why Carla and Luca might be in over their heads, despite the forewarnings and our intuition we are still shocked when the true terror is unveiled.
Doggers (Directed by Rory Hern, 2021)
Doggers is a film that aims to take you by surprise through masking its true intentions throughout. The film follows Sam (Daniel Davids) and Raimi (Kane Surry), who are seeking to spice up their love life, but uncover something much more threatening. Doggers takes what you know about horror and twists your expectations. We’ve seen a private meetup between two people in a dark and ominous carpark, and we’ve seen how wrong it can all go, but Rory Hern (director) ensures that the film is the complete opposite of predictable. Hern delivers a fresh take on a classic narrative, allowing for optimal scares that come completely out of the blue. Adding to the unexpectedness of the film is the surprising amount of brutality that Hern has managed to pack into a six minute film, certainly expect to be shocked and scared at this epic tale.
Clamps (Directed by Zachary T. Scott, 2016)
Clamps focuses on a town that is terrorized by killer clamps, to save the day a girl next door, a scientist, and the chief of police is enlisted, but can they stop the clamps before they fully take over. With a plot so ludicrous it would be easy for the film to get lost within its own madness, yet creator Zachary T. Scott tackles the chaos through juggling the humour and the horror. Clamps takes aim at reviving classic B-movie horror where just about anything can be the villain, and nearly anything goes. To achieve something that makes you chuckle as well as grosses you out all within six minutes is immense, making Clamps a standout short film.
Dead End (Directed by Jack Shillingford, 2020)
Dead End follows Tyler (Steven Blades), as he takes a nighttime drive through rural woodlands, but looming in the territory is something with sinister intentions. Jack Shillingford knows exactly how to amp up the fear factor through utilizing an isolated setting, making you feel just as alone and lost in the situation as Tyler. Implementing the film’s neo-folk vibes is the remarkable creature design that lives up to the poster’s beastly visuals. But above and beyond all of the effects and scares, possibly the most impressive aspect is how such a contained film with just one lead manages to convey a story that is totally worthy of an entire feature film.
Her Release (Directed by Valentine Miele, 2021)
Her Release is genuinely unlike anything you would expect. The eclectic story shows a woman after love who lets herself get completely lost within the moment. Whilst the absurdist quality is undeniably grained throughout the entire short, the real admirable factor is how director Valentine Miele presents the surreal elements. Generating a weird and wonderful narrative is obviously a talent, but to make the actual film work so well is truly impressive. Her Release is a beautifully monstrous film that is not to be missed.
Wich (Directed by Anthony R. Williams, 2021)
Wich is everything that a short creature film should be, dark, slightly humorous, and more importantly able to pack a quick punch within a minute’s notice. The film starts out rather mundane with a husband and wife (Aaron Christensen and Michelle Courvais) going about their morning routine by playing crosswords and making coffee, but their ordinary morning soon turns into a beastly horror story when they discover something alarming in their fridge. Creator Anthony R. Williams knows how to play out a comedy horror narrative, with the sporadic change of events coming in at perfect timing, alongside the impressive effects that ensures that Wich remains just the perfect amount of creepy.
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