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★★★★ Starring: #JayJayJegathesan and #MiraeJang Directed by: #PeterRenzullo Short Film Review by: Alexandra James Isabella is a short film directed by Peter Renzullo, the story is disturbing, intense and dark and stars Jay Jay Jegathesan who was made for this role and had previously been in another one of Renzullo’s films The Jewel Wasp . Watching his performance, he seemed like the perfect choice to make for this sinister film and certainly intensified the scene with his story of an emerald wasp and a helpless cockroach. Isabella is unfortunately seated opposite Khan and must endure this uncomfortable tale, but what exactly is the relationship between the two? The scene opens to Khan sitting in a dark suit across from Isabella. At this stage we do not know what Isabella looks like, the audience can merely hear her voice responding to Khan as he begins to tell her a story. There is an ominous air to Khan, the room appears cold and his presence even colder. With just a table in between him and Isabella and his words, the film is very powerful. Instantly, I became hooked on his every word and although disturbed by the story as he describes the calculating and detailed torture that an emerald wasp performs on a cockroach, it was hard to look away. His voice is low and dark and as he tells the story, you begin to feel slightly concerned for poor Isabella and worry for her safety! It’s not until the final scene that we discover why Isabella is there, her calm response to Khan really throws the audience off the scent and it becomes shocking when we finally get a glimpse of her. The sounds of cockroaches and insects can occasionally be heard as Khan is speaking which makes your skin crawl and your fear heighten. Its interesting to see the different ways in which directors can tell a story. There have been some short films where there is no dialogue throughout, and the storyline is followed by facial cues and imagery. Or there are films such as this, where we are not shown much, and the sound of someone’s voice carries the film and drives the storyline. I am a fan of all types of storytelling, if it can really convey that message and entices the viewer from the offset. Isabella has certainly achieved this; Khan’s dark and mysterious tale of horrors was one that I cannot shake. The performance of Jay Jay Jegathesan was a perfect cast for this role and took the film to a very sinister place. The slow pans and long takes, added to the eeriness of the film and made for an uncomfortable watch, forced to listen and endure much like Isabella. Dark and sinister but a great performance and very well written, keeping the audience hanging onto every word.

★★★★★ Starring: #AliKhan, #MaggieOllerenshaw, #AngusBarnett, #DebbieChazen and #JessicaBalmer Directed by: #JacobDudman Short Film Review by: Alexandra James Finger Food , a short film that is both funny, clever and extraterrestrial! Directed by Jacob Dudman this film shows the awkward encounters of meeting your girlfriends’ parents for the first time. However, it becomes even more of an awkward situation when you learn that her parents are aliens! This short was very comical and light-hearted, and a great film for both sci-fi fans and comedies. After dating for a while, it was time for Jason to meet Lucy’s family. Unfortunately for Jason, he arrives just a bit too early and must enter the family home alone as Lucy makes her way back from work after a delayed train. If you couldn’t think of anything worse, the family also have some odd habits and are finding it hard to hide their true selves! Boyfriend Jason played by Ali Khan who also starred in A Haunting in Venice , was pulling out all the stops to impress his in laws, greeting them with flowers and a seemingly big smile. Unfortunately, none of these acts of kindness are doing anything to sway dad Steve. However, they seem to win round mum and nana…maybe even a little too much for nana. The acting within this short was seamless from start to finish, especially from Angus Barnett. Although he had limited dialogue, his presence on screen was powerful and made me feel nervous! The same goes for Ali Khan, you can feel a lot of emotion from an actor by just facial expressions and judging from his fear-stricken face and wide eyes, this was not a family he wished to be a part of anytime soon. I really enjoyed watching the discomfort play out and found that you can relate to some of the scenes, particularly with Jason who wanted nothing more than to get out quick. The storyline had a clever twist, an ordinary family with a dark secret. Will they accept Jason, or will he be the next on their ingredients list. The location and ambience of the home included a lot of details that were simple and effective. The colours used for the lighting as well as the costume designs, made this into a high-quality film, it was entertaining to watch, and you become quickly invested in the storyline. I really loved all the characters, and the acting style cannot be faulted for this short. Although crazy in some respect, the story worked well, and I wanted to know how far this was going to escalate for poor Jason!

★★★★ Starring: #LexsyMckowen, #MariahMaison and #CourtneyLeigh Directed by: #ChrisRNotarile Short Film Review by: Alexandra James Warrior: Predator , a short film written and directed by Chris. R. Notarile. This sci-fi takes a unique spin on the stereotypical characters, by attempting to breakdown the formulaic monsters and creatures in many science fiction films we see today. Many of these films will include a male protagonist and a male creature, even occasionally a female lead but still a male opponent. However, Notarile has an all-female cast, giving a distinctive twist on the classic predator films. This short focuses on a 16th century native American warrior coming face to face with two predator sisters and is forced to fight for her life in an epic battle, but there can only be one victor. The first aspect to recognise in this short is the costumes. Although some audience members may be dissecting every detail, for a small budget film, the costumes and makeup on all the characters were great! Its fantastic to see what can be achieved on a small budget production. For me, the designs and detail with each costume was creative and shows that you don’t need loads of money to make an impact, just creativity and an eye for detail. It was also great to find out that the director had made one of the costumes as well! This shows a lot of dedication and passion towards the project and highlights the fact that if you want something bad enough you will find a way to make it happen. With some inspiration of other cosplayers costumes, it was evident that a lot of thought went into this production. Another element to note is the fact there is no dialogue throughout this piece. Occasionally, this can hinder a film particularly if the storyline is not coherent without any dialogue and it’s needed as an aid to help the audience grasp each scene. However, this was a clear and driven short film, there was a strong storyline which was simple and effective. Great to see a new twist on the predator characters and see strong female lead roles, this is something that is certainly lacking in the film industry, so it was interesting to see the dynamic of both heroine and villain as female, it’s a new and exciting perspective on the predator films. The location was even well scoped out, the incorporation of the cave was able to set this film in the right time frame and isolated the characters away from civilisation, making for intense fight scenes and building the warrior into an independent and fierce character. Warrior: Predator is a great short film that with just a small budget, was innovative and provided the audience with a fresh perspective on the predator films. It would be interesting to see what can be done with a bigger budget especially as this film was creative and showed a lot of promise, therefore it can go beyond that creative milestone with a bigger budget. This was an enjoyable film that can be explored further and delve deeper into each of the characters and their background which would be great to see.

In 1974 The Texas Chainsaw Massacre  rampaged into the public consciousness and has remained there revving loudly and babbling nonsensically ever since. Now for its 50th anniversary, Alexandre O. Phillipe ( 78/52 , Lynch/Oz ) asks five famous faces to share their musings on Tobe Hooper’s feverish nightmare. Getting straight to the point, Phillipe has organised a strong group of interviewees: comedian and actor Patton Oswalt, director Takashi Miike, critic Alexandra Heller-Nicholas, author Stephen King, and director Karyn Kusama. Formally the film is a sequence of interviews, each talking head isolated to a chapter. The presentation is polished - intercutting footage from the original film, illustrative clips from the other films highlighted throughout, as well as archival footage, and new b-roll, not to mention the work put into the sound design - all to try and elevate the experience to something more than the sum of its parts. Despite these flourishes, the rigid interview structure, which admittedly allows the participants to give, longer, fuller thoughts, ultimately prevents the experience from evolving into something more poetic. Therefore Chain   Reactions’  enduring quality will largely be weighed on the content of the interviews. Testament to TCSM ’s popularity it has been analysed over and over again, and therefore the anecdotes and insight provided generally follow the rule of the more personal, the more interesting. Whether it be Heller-Nicholas sharing that her first viewing of TCSM  was on a terrible VHS copy and that the bleached images have now fused in her memories not only with the distinct yellows of Australian cinema, but those of the Ash Wednesday Bushfires. Notable too is Miike’s views on the motives, or lack thereof, behind the violent acts committed in the film, how it differed from Japanese cinema of the time, and how it has influenced his own work. Generally, however, there is a question of how much these interviews broaden our understanding and interpretation of the film. For instance, many of the films referenced are that within the general horror canon – Nosferatu , Frankenstein , The Haunting , The Blair Witch Project ,  Midsommar , etc. There is a mention of Ingmar Bergman, two of Stan Brakhage, a suggestion of Hieronymus Bosch, and a nod to Cormac McCarthy, but the circle of reference is relatively confined.   Recent Blu-ray editions of TCSM  include hours upon hours of extras, boasting several commentaries, documentaries, and featurettes, with insight from the cast and creators of the film as well as experts of the horror genre and other luminaries. There are many books and articles written about the film, the making of the film, the rumours surrounding the making of the film, and the impact of the film, including one by Leatherface himself, Gunnar Hansen - Chain Saw Confidential . Is Phillipe’s film any more essential than these other works? In a word, no. Equally, I have explored many of these materials, and well, more is more.

★★★ Directed by: #DarwinReina Starring: #JenniferEagle, #JJDuffy, #TamiaDow, # GuadalupeHernandez , #IsaacReyes Short Film Review by: Alexandra James A Hell of a Trip to Delicias directed by Darwin Reina, follows a couple on holiday in Granada. They are your typical tourists, not looking to really immerse themselves within the culture just to party and have a good time. Their naivety and complete lack of awareness to the history and colonial heritage, paints them in a very negative light and already sets them up to become a big target in this horror! Unfortunately, for this couple they have picked the wrong hotel to enjoy the festivities of Grenada and instead of fun and laughter they will be trapped in a nightmare with no escape. The film focuses on the colonial rule, racism and genocide of the indigenous people. This has left many to be fuelled by anger and vengeance, and unfortunately for the guests at Hotel Delicias, they are prepared to take out their vengeful hate on them. The film begins with couple Ashley and Matthew arriving in Granada a little lost and confused, however, a worker from the hotel manages to direct them to where they need to go. At first glance and being introduced to Ashley and Matthew, it was not overtly obvious that they were a couple. The pair did not suit each other and so it made it hard to find that connection between the two. As they enter the hotel, they are greeted by the hotel staff, who already seem strange and suspicious and clearly in cahoots! Soon the couple settle in and enjoy the music, food and partake in some dancing with the locals. They eventually end up back at the hotel for a party where they meet other guests such as an Italian couple who share that they will be climbing a volcano the next day. Neither of them knew that would be the last time they set their eyes on them. The concept of the film was interesting and a horror that is fueled and driven by the theme of revenge can make for a powerful and intense watch. Nevertheless, there were some scenes that felt unnecessary and coupled with the overacting, it made the scenes almost comical. The sex scenes felt slightly out of place and did not add to the intensity, instead it took away some of the buildup. The elements of a horror film and the storyline were there and acted as a driving force. However, there were certain details that needed to change such as the couples lacking that connection, as well as the actor's taking scenes to an extreme which ultimately made aspects of the horror feel amusing rather than fearful and took away from the eeriness of this piece.

★★★★ Directed by: #DarwinReina Starring: #HasseBrontén, #ToroCuenca, #DanaDilan, #DidrikMorgan Short Film Review by: Alexandra James No Tell!  An action packed, gritty crime drama that focuses on a mob boss looking for an escape out of the crime lifestyle but needs to move quickly before his luck runs out. To do this, he must pull off one last hit while still acting as the big boss and test the loyalties of his trustees. However, which one of them is willing to betray the other to come out as top dog. The three henchmen include Shorty, Popeye and Jimmy all following the orders of their main guy Pancho. After pulling off a big drug heist, Pancho decides that its time to put them to the test and see just how reliable they all are. The audience are thrown into the midst of the drama, and we are introduced to the characters one by one. The location is out in the woods and as they begin to step out the car and open the boot, we are greeted with a man tied up and covered in blood trying to scream for his life. This was a great opening scene and made for a gripping and exciting start getting us prepared for more shocking moments yet to come. This style of introducing the characters and their names flashing up across the screen creates a real edge, almost like Tarantino’s Reservoir Dogs . It’s a great way for us to get a feel for the characters, as well as introduce the audience to this world of crime that surrounds the men. The scene then cuts back to their apartment, there was a slight contrast between scenes with the men sitting around the table. The film is set in the city of Stockholm and had some great shots of the city and landscape, making the setting feel vibrant and exciting especially when introduced to these gangsters and the hard-core world they live in. However, the apartment itself was very dark, and did not exactly reflect the men’s crazy lifestyle. In addition, there were a lot of cuts and awkward angles between each of the characters which made for choppy editing. It would have been beneficial to see them in a high-end apartment, as they walk around with suits and are clearly making lot of money due to their criminal activities. Moreover, the acting was a little clunky at times, the conversations did not seem at all natural and therefore the performance did not feel convincing. No Tell!  has established a good crime drama, the characters are no nonsense types and are completely ruthless, having no hesitation pulling out a gun on even their closest partners. This makes for a very brutal watch and in turn keeps the audience on their toes, as we are unsure who to put our trust in and the unpredictable behaviour of the characters. That is the mark of a good crime genre, the shocks and the impulsiveness, you never know who is going to go next!

★★★★ Directed by: #HughLiu Starring: #InannaCusi and #DavidCJones Short Film Review by: Alexandra James The Last Rendezvouz , written and directed by Hugh Liu, is a short film shot over a span of just 48 hours. It is a character based short that is all improvised and allows space for the actors to study and interpret the characters in their own way, as well as express their personal vision of how they believe the character should be represented. Last Rendezvous  focuses on a father and daughter relationship, but at its most critical. The audience quickly learn that the father has not been a part of his daughter's life for a long time, however, it seems as though this is a good thing, as his presence is a bad influence and far from responsible. Nevertheless, his neglect still weighs heavily on his daughter and although immature, their relationship when together was strong and fun at times and it’s the abandonment that forces the child to become an adult far too soon and ultimately take on those parental duties for their siblings. The film begins at a remote location, at the end of a pier. A place that is very close to both father and daughter, it was a frequent meeting spot for the two and even little gifts were left by her father there from time to time. As she walks onto the pier, she is startled to see her father standing there, however, they discuss some of their past rebellious escapades and take a trip down memory lane. Unfortunately, this little trip does not last long, as these memories are also tarnished with feelings of loneliness and the absence of her father who should have been there for the important years of her life. It's interesting that this short is all improvisation, with just a few pointers on what props to interact with and some descriptions of the characters goals in life and past experiences, this makes for a truly authentic piece. I did enjoy watching the characters unfold the more they started to interact with one another, there were some teething issues as with many improvised scenes, sometimes there might be a hint of uncertainty as the actors think of what to say next or debate how they think the character should respond to certain aspects, so there were times when the audience felt unsure of themselves. Nevertheless, it gave the film a realness and it highlights that awkwardness between father and daughter, as they both have been apart for a long time and are unsure how to behave with one another. This is a very natural and realistic interaction, and I loved that the actors took time to really invest in their characters background and make the scenes engaging by bringing in that past trauma and relive some of the memories they experienced together. A very moving and original film that shows how improvisation can really set a picture a part and allows scope to explore the characters minds.

Filmmaker Interview by Chris Olson Thanks for speaking with us. Whereabouts in the world do we find you right now?  Greetings, I am coming to you live from West Hollywood…aka Television City where they film “The Price Is Right” ! Amazing. You are currently promoting a new series called Sex Tech Magic Mayhem. How do you describe the series to a new audience?  STMM is a Techie, Edgy, Sexy Variety Series centered around hot topics and shot in a cinematic colorful style with a unique structure that changes episode to episode. The show is a combination platter of narrative, sketch comedy, and character interaction pieces which are woven together to create a cohesive storyline that explores themes such as Ethical NonMonogamy, AI, Alchemy, Jealousy, the Metaverse, Dating and Attachment styles, Blockchain Technology, and Transformational Magic. I play over twenty different characters that interact with each other, and my fashion and cutting-edge electronic rap musical style sets a colourful funhouse nightclub backdrop for the in-depth explorations on culture, magic, and captivating relationships. It sounds great! What made you want to create this? I love comedy shows that not only make people laugh but also expose truths and use their resources to dive deep into topics in ways a single individual cannot. But these shows usually revolve around politics. I always wished for a show like “The Daily Show” or “Last Week Tonight” that was centred around topics that strike my heart, topics like new forms of relationships, intentional magic, or AI … a show that shares tools for dealing with trauma and jealousy and mental health and sexuality and manifestation, and uses comedy not to teach or preach but to expose a common human experience. We are living in the Third Dimension - a world ruled by Polarities. Polarities are not just a part of life for everyone, but Beyond that…Without Ups and Downs, there is no Manifestation, no Creation. We literally can’t create anything without that Pendulum swing. That’s why people who have had hard lives often are very “successful”. That’s also why I feel really sorry for “privileged” people who write tell-alls about their hardships, and people give them shit about it - when in reality we all have a cocktail of positive, negative and neutral experiences, no matter what our circumstances. We can’t judge another person’s success or struggle. The most incredible awesome things - like being rich or famous or brilliant - can cause the most pain. The most horrific things that happen to us can be the funniest things in the world - especially when we choose to change the narrative of our own lives. Every day we have the chance to ask ourselves “What version of this story is the most empowering for me?” THAT is Magic. How can we surf Polarities to our advantage for the highest levels of breakthrough ? How can we change the story? That is at the heart of Sex Tech Magic Mayhem and what our storylines hope to convey. It is about using Magic and Alchemy to empower us in our daily lives, in a way that’s real and lets all life mishaps exist for our benefit. Yup, so that happened….. now how can I use it? What stage is the show at right now and when/where can people see it?  “Sex Tech Magic Mayhem” is currently in production, with about one third already shot. Season 1 will debut in the spring of 2025 on a digital streaming platform. In the meantime, come along for the ride every Thursday night at 8pm on Youtube @Datgirl_Official, on Sex Tech Magic the Podcast …where we share the process, reveal behind-the-scenes antics, and introduce you to our topics, research and characters. What have been the challenges to get this made and out there? Once I found the right teammate, my collaborator and brilliant visual artist and all-around filmmaker Natalie Bible’, the process took off, in the sense that the cinematic colourful style of the show matches my personal brand and the writing and characters. It's all about finding the right team. The creative challenges now are more about choosing the elements we want to convey and narrowing down the focus….weed-whacking the content for clarity and dynamics. You also have a podcast right? What's the show about? Sex Tech Magic the Podcast is an intimate fun way to connect with people and share what we’re up to as we create the show. It has an immediate bio-feedback loop that allows friends and fans of the show to imprint their input on what they would like to see more of. It’s just fun to broadcast and play with the material in a casual creative environment. Some episode topics include: “Sex in the Metaverrse”, “Love in the time of AI”, and “Creativity in the 3rd Dimension”. Some episodes showcase how I create character, or reveal the tech behind my unique live synthesizer and drum machine music production. Some episodes feature special guests, and some are live straight from the set. Where can people access the podcast? Join us for “Sex Tech Magic the Podcast” every Thursday night at 8pm on Youtube @Datgirl_Official. What's next for you? I have a live theatrical series called “the Jewel Net”, about a dimension made of thoughts that is also a modern twist on the Hercules myth, told from a female-driven protagonist “Girlcules”. I hope to tour and perform it in Edinburgh, and then produce the fiction podcast and animated series. After film and tv, actors are always hungry for Live Performance, whether it’s performing my original plays, touring Variety Show, or producing a dream play like “Venus in Fur”. And also Pizza. #ChrisOlson #FilmmakerInterview

Filmmaker Interview by Amber Jackson Tell us about your work as a filmmaker. How would you describe your films? I would describe my films as a celebration—whether it’s through the joy and entertainment they  bring or the way they honour and uplift a particular community. I enjoy festivity- I like putting a smile on people’s faces. Even when addressing challenging subjects and themes, I always imbue a sense of levity and lightheartedness. I think there’s still joy and laughter to be had in tough times. To do so, I work to blend music, spectacle, and narrative to create an immersive experience. My goal is to craft stories that leave people feeling inspired and excited.   Which women and/or queer filmmakers have most influenced your work? I love filmmakers whose voices and visions are strong and bold. It can be a challenge in this industry to be unabashedly yourself and so filmmakers Jane Wu and Greta Gerwig are really inspirational. Jane Wu, a director-producer for the animated series Blue Eye Samurai, completely blew me away with her style and work. The show blends Western and Eastern sensibilities that completely elevate the final piece. Even though I don’t work in animation, Jane Wu's ability to blend those cultures has always been something that I try to work into in any of my films. More so I love Jane’s path in this industry. She’s worked for years as a storyboard artist, and just recently started producing and directed animated shows. And those years of experience really show. Filmmaking is such a craft, and her dedication to her craft has been influential in the way I approach my own craft. For Greta Gerwig, there’s no competition in my mind for a director who crafts genuine and authentic scenes about the female experience. I love exploring female relationships outside of just traditional romance, whether that’s the mother-daughter, the sister, or a woman’s relationship with herself, Greta Gerwig has always been a great source of inspiration.  You refer to diaspora plenty within your work. How has living in both Singapore and the  US influenced your storytelling on screen? I think one of the most visually obvious ways it’s influenced my storytelling is my visual sensibilities which are a mix of Western and Eastern media. However, the most profound impact has been on the themes I explore, particularly the concept of home and belonging—ideas I find myself constantly returning to in my work. To have separate lives and create homes in separate places, can be very scary and empowering at the same time. I’ve spent a lot of time having to think about and come to terms with what defines home to me. I’ve thought about why I feel so connected to a country that I haven’t lived in for over a decade. And I’ve thought about why I feel so connected to a country that I wasn’t born in. And I’ve felt alone in both of these spaces. I think that many people who have lived in different countries for significant periods of their lives can relate to the kind of cultural negotiation that you have within yourself. You pick the things that you like, and you leave behind those that you don’t. And wherever you go, those things can come into conflict with either side. You are forced to remain flexible in this flux. In that sense of feeling like you are constantly in between, having to find your place of belonging can be challenging. This perspective has influenced my storytelling in ways that I initially wasn’t even conscious of. But I do look back and find that most of the themes and characters I write about are in search of belonging. And often finding that sense of home transcends the traditional meanings of “home”  The imaginary boundaries and lines we’ve carved into our globe or family units don’t need to be our definitions of home, it certainly has not for me. And I enjoy exploring stories that challenge them.  With this in mind, tell us about your film  Dancing in a Forbidden World  . How do you  navigate those themes of race, diaspora and female liberation in 1940s America?   Dancing in a Forbidden World  is a personal project that merges my interests in history, identity and social liberation. The 1940s in America was a time of change, particularly for women and people of colour. The film is set in a nightclub called The Forbidden World. The space itself acts as both a refuge and stage for Asian women and Asian entertainers. The dancers that never had a stage, the singers that were never given mics.  Dancing in a Forbidden World  celebrates the performers who challenged the restrictive norms and dreamt bigger. The lead character is thrown into this world and at her core is on a quest for autonomy. And her narrative is about identity and freedom.   Why is it important for you to represent the underrepresented?  It’s about reaffirming someone’s existence. That’s the core of it. I think anyone who doesn’t  understand why someone’s existence requires affirmation has never needed it.  More broadly, how do you navigate Asian identity in your films? What key considerations do you make when conveying Asian stories? In a weird juxtaposition, I’m consciously not thinking about it. The stories I write and the worlds I create are inspired by my childhood and my experiences. That naturally equates to stories centered around the Asian female identity. I’m not consciously debating whether or not my lead actress should be an Asian female, they tend to just naturally are. I found that when I was in school, the notes I often received on my writing was that it needed to showcase my Asian culture more or my “asianness” or my struggles as a female. And that was actually a detriment to my writing, because it made me increasingly boxed into this corner of trying and having to represent all of my culture and all of my gender identity. Now I try to just write from the heart, and from what I feel is important. The key consideration I make when conveying any story is that is this authentic and genuine to me? And if it is, that naturally leads to a story that talks about Asian identity, but more importantly it leads to a story that I care about. How do you hope your films impact your audience? I hope that people can walk away from my films feeling energized and inspired. There’s a lot of joy to be had in this world, and I try to capture even the smallest amount of it. I write and make a lot of stories that are inspired by historical events. And I want people to walk away being curious and with a desire to learn more. What’s next for you as a filmmaker? I’m continually excited to explore stories that challenge and inspire. Currently, I’ve been working heavily in directing commercials. I enjoy being able to constantly practice my craft, and improve those skill sets. The fast-paced nature of commercial work pushes me to be more creative and precise with every project. I find a lot of satisfaction in the challenge of distilling a powerful message into a short, impactful piece, and I'm eager to see how these experiences will influence my future narrative and documentary projects. #AmberJackson #FilmmakerInterview

Grimmfest, Manchester’s International Festival of Fantastic Film, will be returning to its regular venue, Manchester’s Odeon Great Northern, on the 3 – 6 October for four ferociously full-on days of the best in genre cinema. Following on from the recent announcement of the features line-up, the Grimmfest Team are delighted to reveal the rest of this year’s festival programme.  As part of this year’s Preview Night on October 3rd, Grimmfest are thrilled to announce an exclusive European Premiere screening of three episodes of  TALES FROM THE VOID . Inspired by the most viral and haunting stories from the r/NoSleep community, a Reddit forum, where independent authors share short form horror stories, the series mixes pointed contemporary social commentary with classic genre tropes and knowing homages to much loved cult film and TV favourites, and features some of the hottest talents in the field: The arrival of a mysterious floating black square on a rundown housing estate stokes buried resentments and tensions to boiling point in  INTO THE UNKNOWN , directed by  Joe Lynch  ( SUITABLE FLESH ).  A teenage prank leads to an unforeseen threat that William Castle would be proud of, in  FIXED FREQUENCY , directed by  Francesco Loschiavo .  A young woman confronts terrifying repressed memories, following the death of her drug addict mother, in  PLASTIC SMILE , directed by  John Adams and Toby Poser  ( HELLBENDER ). Grimmfest’s Shorts Programmes this year features four World Premieres, one International Premiere, three European Premieres, six UK Premieres, one English Premiere, four Regional Premieres, one North West Premiere, and two Greater Manchester Premieres: METAMORPHOSES  offers tales of transformation and deformation, evolution and devolution, mutation and mutability, anxiety and alienation given physical form, and all of the horrors and pleasures of the all-too-fragile flesh… A telephone call brings unexpected terrors, in  James Longman’s quietly unsettling  SUFFOCATE (Greater Manchester Premiere). A young father starts to feel increasingly displaced by his newborn baby, in  Aaron Murtagh ‘s  MAN BABY (North West Premiere) .  Kafka plays out on a Parisian housing estate, in  COLEOPTERE ,  Martin Gouzou ‘s social (sur)realist spin on  METAMORPHOSIS (English Premiere) . A gender-flipped Dorian Gray for the age of social media, in  Giulio Manicardi’ s unexpectedly poignant  SELFIE (UK Premiere) .  A neglected woman turns to her favourite house plant for the connection she desires, in  Rebecca Thomson ‘s macabre and mordantly funny  A GREEN AFFAIR (European Premiere) .  Two sisters forced to care for their catatonic grandma start to realise that she’s not quite herself any more…  Gigi Zumbado  ( THE PRICE WE PAY ), and her sister  Carmela  star in  CARNIVORA ,  Felipe Vargas ‘ queasy study of familial obligation and loss of self  (European Premiere) .  An actress’s opening night nerves take on terrifying physical form in Jano Pita’s nightmarish study of social anxiety and self-harm,  APOTEMNOFILIA (UK Premiere) . And a sensation-seeking man’s midlife crisis leads to fatal temptation in   Simret Cheema-Innis ‘s polymorphously perverse cyberpunk body horror,  FROM ME TO YOU (UK Premiere) . Sometimes, it all just gets too much: family, peer groups, work, unemployment, relationships, sexual performance, imminent parenthood, bereavement, environment, your own late night paranoia. So much pressure… in the  TENSIONS  programme: A young woman is awoken by something going bump in the night, in  Mikel Iriarte  and  Jack Downs ‘  DEAD OF NIGHT (Regional Premiere) .  A bucket holds unexpected mysteries in  Axel Zeltser ‘s mischievous  EMBRACE (Regional Premiere) .  A young woman battles for her life, and the future of her relationship against a relentless masked killer, in  David Yorke ‘s blackly comic  SAFE (Regional Premiere) . A young cleaning lady working in a deserted office complex experiences an unexpected threat while working in  Jasper ten Hoor  and  Ivan Hidayat ‘s  PASPOCALYPSE (World Premiere) .  A flustered young man running late for a job interview finds himself faced with an unexpected obstacle in  Daniel Noblom ‘s claustrophobic  PARASOMNIA (World Premiere) .  An underpaid office worker discovers that sometimes a moment’s break is hard earned, in Sebastian Ganschow’s visually stunning THE INFINITE BREAK ROOM  (World Premiere) .  An ambient sleeping aid app holds unexpected dangers in   Ethan Evans ‘ nightmarish  OUTSIDE NOISE (Greater Manchester Premiere) .   There’s a uniquely… colourful antidote to toxic masculinity in  Yfke van Berckelaer ‘s uproarious  IZZY (UK Premiere) .  Two Grimmfest alumni make a welcome return, as  Jeremiah Kipp  ( SLAPFACE ) offers an uncomfortable illustration of that old maxim, “be careful what you wish for”, in the enigmatic and unsettling  DARK ROADS (European Premiere) , while  Nicholas Payne Santos  ( IT CUTS DEEP ) explores the nature of grief and the unwillingness to let go of our loved ones, in the eerie and mournful  STRANGE CREATURES (UK Premiere) .  Simón Bucher, Claudia Saldivia and Amanda Rivera  present a viscerally uncomfortable study of self-destructive greed in  THE FEAST (Regional Premiere) .  A young woman’s conviction that her husband has been replaced by an alien doppelganger leads to savage violence, in  Shane Day ‘s troubling take on the classic Bodysnatchers trope,  THE NEIGHBOURHOOD AT THE END OF THE WORLD (International Premiere) .  And a father-to-be’s fears prove all-too-terrifyingly justified, in  Robert Franz ‘s gleefully gory study of misogynous male paranoia,  AMBROSIA (World Premiere) .  There are also a couple of short films this year screening alongside feature films.  Sam Fox  ( FCK’N NUTS ) makes a welcome return to Grimmfest with  THE BLUE DIAMOND , a high-camp retro-80s take on toxic mother-daughter relationships, self-help therapy groups, and apres-ski, starring a deadpan  Desiree Staples  and the incomparable  Barbara Crampton . The film will screen with  DEAD MAIL  and is a  UK Premiere . And screening with Robyn August’s  KILLHER  will be the first of August’s  NIGHT WALKS, EDITH AND THE EMPTY (UK Premiere , a droll and deftly observed homage to such much-loved 60s supernatural shows as THE TWILIGHT ZONE, in which an enthusiastic cook meets her match at last in an insatiable entity. Full and day passes and individual tickets are available at  https://www.grimmfest.com/festival/

Filmmaker Interview by Chris Olson Great to speak with you Cal. Where in the world are you right now? The pleasure is all mine! I’m currently based in London, my favorite city in the world. I’ve lived here for so many years that it feels like my permanent home. London is truly a special hub for creatives—whether it’s filmmakers, actors, musicians, or artists. The city offers incredible networking opportunities and has a unique vibe that constantly inspires me. You have a new short film in the festival circuit, SOMN. What's the film about? 'SOMN' is about a boy trapped in a horrific, cyclical dream-like state with no hope of escape. It’s my most ambitious short yet, combining everything I’ve learned and studied over the years. The project was designed from the ground up to work specifically as a short film, making full use of the format. My hope is that viewers find 'SOMN' immersive, unsettling, and a compelling horror experience. It’s unconventional in its approach, but I believe it’s highly engaging. Could you elaborate further on what you mean by ‘unconventional but still highly compelling?’ Absolutely. Without giving too much away, since 'SOMN' is meant to be open to interpretation, the film has a unique tempo and editing style that aims to emulate the disjointed nature of a dream. When we shot the film, we only had a one-page outline—a rough story that left room for improvisation. As a matter of fact, many of the scenes we initially planned either weren’t filmed or were cut in the editing process. The final version of 'SOMN' is just over 4 minutes, including credits. Early cuts were closer to 7 minutes and included additional scenes that provided more context and backstory. However, I decided to trim anything that didn’t heighten the tension or felt too expository. Much like real dreams, 'SOMN' jumps between scenes with little logic connecting them, yet it was crucial to maintain some sense of coherence to keep the audience engaged. The editing process was all about finding that balance. Sound design played a huge role in shaping the final edit, often sparking new ideas and directions for the film. We also did extensive test screenings to gather feedback and refine what worked. Even in its brief runtime, 'SOMN' packs a lot in, and not everything is entirely clear by design. My hope is that it leaves viewers intrigued, making them ponder what they’ve just witnessed in the best possible way. Why did you decide the make SOMN? There were two main reasons. First, I believe horror is one of the best genres for a short film to stand out. Horror movies naturally draw an audience because we love the thrill of being scared, knowing we're safe. Additionally, horror is budget-friendly and encourages creative problem-solving. I saw this as an opportunity to apply all the filmmaking techniques I’ve learned over the years and from my previous shorts to create a lean, intense horror film that keeps viewers engaged from start to finish. The second reason is my frustration with modern horror, particularly horror shorts. To me, modern horror sacrifices so much atmosphere to exposition and cheap scares. A good horror premise can be ruined as everything is given a clear explanation and one final jump-scare or shocking reveal. ’SOMN’ draws heavily from 90s Japanese horror and the work of David Lynch. There’s a certain magic in how those films created an immersive, intoxicating atmosphere without relying on excessive exposition, jump scares, or gore. They focused on immersing the audience in a world that was bizarre and unsettling, which made the horror all the more effective. Often times, audiences would leave uncertain of what just occurred and they had to fill the intentional gaps with their own theories, which I think makes it all the more scary. I wanted to pay homage to that style, which is why 'SOMN' has a very specific visual aesthetic—a dirty, grainy look rather than the polished, clean imagery of modern films. Our colorist, Alexander Reinholdsson, did an incredible job capturing that atmosphere. I’d also like to add that when it comes to more modern horror, David Robert Mitchell’s ‘It Follows’, released in 2014, really what I love in a horror film. A perfectly immersive, terrifying film that left you with more questions than answers by the end. What challenges were there in getting this made and out there? Without a doubt, the editing phase was the most challenging. The shooting and pre-production were so freeform that when I first looked at all the footage, especially in the initial edit, I thought, ‘I don’t know what any of this is supposed to mean or be.’ But that was part of the plan all along. Working on a super indie, low-budget project meant I had all these fantastic, disjointed pieces of a puzzle that needed to be put together. The storyline went through several iterations, from a cursed protagonist to a more traditional haunted house narrative. Eventually, however, this experiment evolved into the current narrative—a kind of mundane cosmic horror. We don’t know why these events are happening to the main character, we don’t even fully understand what’s happening, or what the eponymous ‘SOMN’ is. In fact, we never really get to know who the main character is, as, small spoiler alert, they themselves don’t know who they are anymore, since it is revealed their whole identity was erased in the dream. This puts the audience in the same position as the protagonist: trapped in a repeating nightmare, unaware of how they got there or why it’s happening. My hope is that, despite the ambiguity, the fear is palpable. Our lead actor, Karn Na Tarlang, did a tremendous job portraying a character who is vulnerable and terrified, which I believe will help audiences connect with his plight. I’m aware this approach might be controversial, but I stand by my decision to focus less on the bigger picture and more on the moment-to-moment experience. I’m confident that audiences will engage with the film and, hopefully, come up with their own theories about what’s really happening in 'SOMN'. The few spoken lines are also in Thai and the incomprehensible voice of the SOMN, which for a production made in England could perhaps prove divisive, but it is all subtitled of course in a style that compliments the short. How have you evolved as a filmmaker since your previous film, Neon Heart? The most significant evolution for me has been my focus on sound. In your fantastic review of Neon Heart, I appreciated the compliments on the visuals and acting—those are areas I’m passionate about, especially working with actors and helping them showcase their talents. However, the sound quality, particularly the poorly recorded dialogue, was a major downfall. That experience taught me that sound is just as crucial as the visuals and performances, if not more so. This focus on sound was a driving force behind SOMN. We shot the film on an iPhone 14, partly out of convenience but also as a challenge to myself. I wanted to see how we could use framing, sound design, and editing to create a cinematic and gripping picture, even with the most minimal equipment. Another key lesson has been the value of a talented crew and the importance of collaboration. Bringing skilled individuals onto a project is one of the most magical aspects of filmmaking, especially when they are given the freedom to contribute their own ideas and perspectives. As a director, my role is to ensure consistency so that the final product isn’t disjointed, but beyond that, I trust my crew completely. When everyone is connected to the material, the best ideas flow naturally, and I’m committed to fostering this creative environment in all my future projects. You mentioned earlier all spoken lines are in Thai, why is that? Well the main actor himself is Thai, so I wanted his lines to be in his home language as it was very important to feel authentic. This also works thematically, as I want what he goes through in the short to feel universal, plus my ethos as a filmmaker is to show diverse and underrepresented voices in all of my projects, to give a fresh perspective to audiences. How can people get to see SOMN? I'm currently planning the distribution strategy, as I want to ensure SOMN finds the right platform and audience. Rather than simply releasing it on YouTube, where it might get lost in the crowd, I'm focusing on entering the festival circuit first. My goal is to connect with short film distributors who can help bring SOMN to a wider audience. Online channels like 'Alter' could also be a great fit for the film. We’ve put together a brief trailer to generate interest, and I’m hopeful that word of mouth will play a key role in building awareness for SOMN. Why do you make movies? I truly believe at this point it is what I am meant to do. I’ve always had such a passion for cinema and filmmaking, the creative process, collaborating on a set with like-minded individuals and how satisfying the challenges are. And more importantly , the fact that with movies, we can reach out to people. Like any art form, film can make us look within ourselves and help us develop as humans. I aim to do that as well, whichever the genre I work in, that those who watch will leave with something they didn’t have before seeing my films. What's next for you after this movie? I’m currently working hard on ensuring SOMN is the best quality possible and we can show it at festivals so me and the team can create new experiences as soon as possible. Filmmaking is quite expensive, but I have enough interesting ideas that I hope will get financed so we can show them to the world. #ChrisOlson #FilmmakerInterview

Film Feature by Jason Knight #6 - Line of Sight ★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman A lonely man is obsessed with a young woman. Francis (Smith) is a socially awkward young man who appears to fancy Erica (Ashman), a friendly girl who works at a cinema. He follows her around and takes pictures of her without her knowing. Finally, he decides to approach her, however, things will take a dramatic turn. This short is kind of a stalker thriller that is seen from the perspective of an unusual individual. Initially, it is not clear whether he is a good or a bad person. He secretly follows and photographs a person, yet his intentions appear to be harmless, as he seems to want to be in a relationship with her. Smith delivers a convincing performance as an isolated individual who has difficulties socialising. His love for photography appears to be a way for him to view and experience the world. Ashman is great in her role as a cheerful cinema worker. The filmmakers make effective use of slow motion and the dramatic music helps create the appropriate atmosphere. This is a dramatic story and one that explores themes of obsession and loneliness. It raises awareness of autism and presents challenges that people with social difficulties have to face. #5 - April ★★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown, Spencer Anderson Starring: Ruby Rae, Oscar King, Cara Kealy In a hostile, post-apocalyptic world, a man escorts his daughter to a place called 'The Vale'. This short science fiction drama introduces the viewer to a world where danger seems to be constant. The story is told from the perspective of a family, whose members are forced to try to survive in that place. These people are Jordan, the father (King), Natalie, the mother (Kealy) and April, the daughter (Rae), who possesses extraordinary abilities. The three of them live in a hidden location in the wilderness and one day, Jordan and April set off to locate a group of people, who will hopefully be able to help April control her powers. Although the screenplay does a decent job in terms of setting up a post-apocalyptic world, it does not explain how it happened, which is not a bad thing, however, it would have helped if there was some form of explanation. The main focus is the relationship between the father and his daughter. The two of them have their differences, however, it becomes obvious that they care deeply for each other. The performances are great, and the three protagonists are convincing in their roles as good-hearted individuals attempting to survive in a harsh world. The film benefits from a beautiful and sentimental score and a special mention goes to Renato Solca for the visual effects. This short is a post-apocalyptic sci-fi that is a story about a journey that is filled with emotion and explores themes of parenting, survival and self-discovery. #4 - Super-Being ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson, Dale Dandridge, Jamie B-Brown, Moyo Taylor Starring: Zachary Coleman, Juke Hardy, Nate Barker, Issie Caird An individual who has supernatural powers is being pursued by sinister people. This science-fiction thriller explores the life of a person with otherworldly abilities. The nonlinear narrative travels through time between scenes that show the protagonist as a young man and scenes that show him as a child. The audience sees the passing of his mother, his attempts to live a normal life and the efforts he makes in order to deal with the people who are after him. There is drama, shooting, life-threatening situations and the sense of an individual who is lost, who seems to be unable to find peace. Much of the story is accompanied by narration by the main character, as he talks about his life and his words are emotional and sound philosophical. Jermaine Wills and Filipas Proskurinas do an amazing job with the cinematography and the atmospheric score is a big plus. Although this is interesting viewing, it might have benefited if the hero's powers were explained more effectively. Nevertheless, this short is an emotional and tense ride about loss and self-discovery. #3 - Satellites ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray An astronaut is by herself, on another planet. This beautiful and emotional short focuses on a young woman (Murray), who has found herself on an uncharted planet and attempts to navigate through it on foot. The mise-en-scene in this drama effectively brings the viewer into the science fiction genre. The protagonist wears a spacesuit, there is a spaceship and she is on a distant, unknown planet. Regarding the narrative, there is not much of that and it is the images and narration that keep the audience engaged. The viewer observes the woman as she walks through the planet, wearing her spacesuit. She is the only person in the film and there is a strong feeling of isolation. Her voice-over refers to issues about life and the meaning of existence and listening to her is quite thought-provoking. Ben Hardy worked on the cinematography and editing and does a great job. The decision to utilise the track Surrender It by Delectatio was excellent as it is a wonderful and very calming peace that creates a peaceful atmosphere. This is a story that focuses on one person's philosophical perspective regarding life. On the surface it is a sci-fi, however it is more than that and explores themes of isolation and self-discovery. #2 - Rock-a-Bye ★★★★ Directed by: Spencer Anderson Written by: Jamie Bhagwat-Brown, Spencer Anderson Starring: Yazzmin Newell, Samuel Lawrence A young woman makes a crucial decision on the day she and her partner are about to commit a crime. An intriguing short film that works as a crime thriller and also as a story about self-reflection. As a crime film, it has a plot that revolves around the idea of a couple being outlaws. According to director Anderson, this short was made with Western-era influences that involve films such as Blood Simple and Badlands and that is evident considering the storyline and atmosphere. Plus, part of the filming was done at the Burnout BBQ Diner in Summertown, Oxford, giving the film a sort of Americanised look. What is going on is not clear from the beginning, making the viewer to put the pieces together as the story unfolds and what is discovered is that the couple are about to do something very vile. As a film about self-reflection, that theme is explored through Carla (a great performance by Newell), who makes a vital last-minute discovery and makes a crucial decision. Newell is terrific in her role; however Lawrence is arguably the one who steals the show as Clay, Carla's partner, an aggressive and controlling man. With his sixth short, Anderson creates an expertly directed film that contains a great deal of suspense and with terrific performances by the two leads, a dramatic and tense score by Reg Length and beautiful cinematography by Jermaine Wills, this is an achievement that deserves recognition. #1 - Fallen ★★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Zachary Coleman, Michael Watts This short drama was inspired by the reminiscences of Gilbert Bradley, who was a British soldier who exchanged letters with his male partner while he was fighting World War II. Through a nonlinear narrative, this emotional war film tells the story of a forbidden romantic relationship and how these two people tried to keep in touch during the war. Approximately the first half consists of the reading of a letter that was written by one man and addressed to the other and the second half is the opposite. Both contents of the letters are told through a voice-over that comes from the one who wrote it. Their words are passionate and full of emotion, clearly indicating the love that they feel for each other. The narration is accompanied by many brief scenes that depict the lives of the two partners, including one man in a library, reading a letter, scenes of combat, a bonfire and the two men together. The scenes and the voice-over make it all a rather moving watch. With its narrative structure, the film almost feels like a ten-minute-long trailer, which is not a negative element but a rather interesting storytelling technique. Jermaine Will provides wonderful cinematography and the emotional score goes very well with the scenes and voice-over. The mise-en-scene also deserves a lot of praise as it effectively creates a Second World War atmosphere. This is an emotional ride that is very heavy on emotions and explores a romance that is being torn apart by war. It is a beautiful story about love, separation and war and it deserves recognition. #JasonKnight