Tag Archives: horror film

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Horsehead

Horsehead
Horsehead

Director: Romain Basset

Writers: Romain Basset, Karim Chériguène

Cast: Lilly-Fleur Pointeaux, Catriona MacColl, Murray Head

France 2014

89 mins

Every year the Etrange Festival hosts its share of unreleased films, and this year it included the world premiere of the first feature film by a young French director, Romain Basset, who had already presented a short on vampires in 2008, Bloody Current Exchange, and another on ghosts in 2009, Rémy, at the same festival. Horsehead is his ambitious attempt at lifting the curse that has long prevented French cinema from producing good films in the horror genre.

After her grandmother’s death, Jessica (Lilly-Fleur Pointeaux) goes back to the spooky family manor, evidently loaded with dark secrets, where her mother Catelyn (Catriona MacColl, Lucio Fulci’s muse from the early 1980s) lives with her husband Jim (Murray Head) and George the gardener (Vernon Dobtcheff). Haunted by recurrent dreams since her childhood, Jessica has turned to studying the psychophysiological theories of lucid dreams, and her nightmares worsen with the proximity of her grandmother’s corpse. When she is bedridden with a strange fever (Fièvre was the working title of the film), she tries to control the visions of her grandmother’s ghost in order to communicate with her. Soon dream and reality merge, with reality altered by the unconscious, while the plot slowly navigates between the two states to unravel a shameful family secret.

The film seduces with its aesthetic choices. Vincent Vieillard-Baron, who was also responsible for the cinematography on Rémy, elaborates on a rich visual variation of The Nightmare, the famous painting by the 18th-century painter Henry Fuseli, whose title is literally represented by the head of a mare hovering over a sleeping beauty, on whose breast sits an incubus. The mare, or rather the eponymous Horsehead, becomes a character in the film, and Basset enriches Fuseli’s pun with a further paronomastic layer (which only works in French) between jument (mare) and jumelle (twin). It seems as if Basset’s intention were to base the whole plot on this Lacanian pun, and unfortunately, the result meets neither Basset’s ambitions nor our expectations. In particular, the film would have been better off without the religious imagery that blurs its main point. Jack of all trades and master of none, Basset cannot resist accumulating clichés. One can hardly grasp the need for Jessica’s nude crucifixion, let alone why anyone would want to have an abortion in a chapel, while the figures of the grandfather (described as an ‘Old Testament kind of man’) and of the Cardinal, mixed with the theme of immaculate conception, all seem strangely out of place in a plot whose main aim is a genealogical quest.

Basset errs on the wrong side of excess, unable to turn down ideas and desires when they arise, all in all less capable of controlling his opulent imagination than Jessica her dreams. To crown it all, hoping to fool the devil by opting for an English-speaking cast, Basset does nothing to justify the fact that the film was shot on location in the village of Argenton-sur-Creuse, right in the middle of France. Yet for all the imperfections of youth, Horsehead deserves the benevolent reception one usually grants a first film, though the French curse remains yet to be lifted.

Pierre Kapitaniak

This review is part of our Etrange Festival 2014 coverage.

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A Girl Walks Home Alone at Night

A Girl Walks Home Alone at Night
A Girl Walks Home Alone at Night

Format: Cinema

Release date: 22 May 2015

DVD/Blu-ray release date: 24 July 2015

Distributor: Studiocanal

Director: Ana Lily Amirpour

Writer: Ana Lily Amirpour

Cast: Sheila Vand, Arash Marandi, Dominic Rain

Iran, USA 2014

100 mins

One of the top picks in the outstanding selection of this year’s Etrange Festival, Iranian filmmaker Ana Lily Amirpour’s debut feature mixes sumptuous high contrast black and white cinematography, Italian Western music, Jim Jarmusch driftiness, comics influences, Farsi language and a chador-wearing skateboarding vampire girl to create a seductive, singular world entirely her own.

In the Iranian ghost town of Bad City, a hard-working boy with a 50s car and a junkie father tries to confront the nasty drug-dealer who has them under his thumb, and encounters a strange, silent black-cloaked girl in the process. Tentative love slowly develops between the two even though unbeknownst to Arash the Girl continues to stalk the streets at night and feed on the desperado denizens of Bad City.

The loose narrative meanders with achingly beautiful melancholy through one poetic moment after another. The Girl’s skateboard rescuing of a tripping Arash dressed as Dracula in a deserted street is sweet and funny. The oppressive, forbidding-looking machinery in an oil field is a recurrent backdrop, most notably in a scene where a romantic gift is received in a way that undercuts any potential sentimentality. Similarly, a slow-motion scene of developing intimacy set to White Lies’ ‘Death’ is both tender and charged with an undercurrent of danger.

The love between Arash and the Girl slowly grows amid a sombre world where relationships are all tainted: Arash’s parents, the tragic prostitute Atti with Arash’s father Hossein and the abusive drug dealer/pimp have woven webs of desperation, selfishness, violence and untold grief, sometimes punctuated by awkward, misdirected affection. As the bond between Arash and the Girl tightens, they discover that love is about accepting the other’s ‘badness’ and finding the human warmth you didn’t even know you longed for.

Detached and alone, the Girl is a terrific character, both touching and fearsome, combining childlike ingenuity with a menacing edge. Her charismatic presence quietly dominates the film, and she only needs to appear to create a force field of dark energy on the screen. There is also the clear intimation that she and Atti, the only two women in the film – and maybe the street urchin who has a few alarming encounters with the Girl – know more than the hapless male characters, who do not seem to perceive the forces that influence their lives.

Rich in atmosphere, deliberately slow and stylized, the film is in the vein of Let the Right One In, Only Lovers Left Alive and Nadja, using the vampire figure to dreamily evoke loneliness, desperation and the slim hope for a non-toxic human connection. With very little dialogue, the film uses a striking, luminous visual language of its own creation to tell the beginning of cautious new love. A true gem that is not to be missed.

Virginie Sélavy

This review is part of our Etrange Festival 2014 coverage.

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Starry Eyes

Starry Eyes
Starry Eyes

Format: DVD

Release date: 16 March 2015

Distributor: Metrodome

Directors: Kevin Kolsch, Dennis Widmyer

Writers: Kevin Kolsch, Dennis Widmyer

Cast: Alex Essoe, Amanda Fuller, Noah Segan

USA 2014

96 mins

The question is as old as cinema itself: what would you do for stardom? Sarah is an aspiring actress rotting in a two-bit job surrounded by dead-end pretentious hipster friends. But she is different – she knows she will make it no matter what. So when Astraeus Pictures offers her the lead in their latest production, ‘Silent Scream’, she grasps the opportunity with both hands. However, Astraeus Pictures is a strange company and Sarah will be plunged into uncharted depths of darkness before she can become the star she believes herself to be.

Like a head-on collision between Rosermary’s Baby and Day of the Locust, Dennis Widmyer and Kevin Kolsch’s brilliant Starry Eyes is a cautionary tale like no other: set among the dregs behind the glamour of LA, the film paints the portrait of a woman metamorphosing both literally and figuratively. Boasting eye-popping special effects and a killer synth score, Starry Eyes harks back to the Hollywood cinema of a bygone era: smart, frightening and terrifically acted, this is the sort of filmmaking that the genre deserves to see more often.

The directing duo handle the mood with aplomb: LA feels like a sun-drenched nightmare, and as Alex starts to lose her grip on reality, her surroundings change accordingly. The music plays an important role: evocative of Carpenter et al., its synth edges go some way towards creating a vision of LA in which things are askew – the sense that something is wrong not just with Sarah but everyone occupying the city is an idea that gets reiterated at every turn.

It is to the credit of the directors that in Astraeus Pictures they create a wholly believable organization that offers Sarah a Faustian pact: by keeping their presence largely confined to the shadows, only ever feeding enough information to keep the viewer intrigued, Dennis Widmyer and Kevin Kolsch ensure the threat that they present remains uncertain and terrifying throughout.

On a side note, it is a joy to see Pat Healy in the film, however small his role, and special mention must go to Sarah’s group of friends, who seem to combine the worst qualities of young filmmakers in a way that is never too over the top.

Starry Eyes builds to an eye-gouging, head-spinning climax without ever losing track of its aim and it is this singularity of vision that made it a favourite at Film4 FrightFest and one of the clear winners of this year’s genre offerings.

This review is part of our Film4 FrightFest 2014 coverage.

Evrim Ersoy

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Alleluia

Alleluia 1
Alleluia

Format: DVD

Release date: 22 December 2014

Distributor: Studiocanal

Director: Fabrice du Welz

Writers: Fabrice du Welz, Romain Protat, Vincent Tavier

Cast: Lola Dueñas, Laurent Lucas, Héléna Noguerra

Belgium, France 2014

93 mins

One of the most talked-about films on the horror and fantasy film festival circuit had its UK premiere at Film4 FrightFest in August. Fabrice du Welz’s Alleluia is based on the real-life story of the ‘Lonely Hearts Killers’: in 1940s America, Raymond Fernandez and Martha Beck would find their victims through ‘lonely-hearts’ ads and murder them after Raymond married the victim. The case has been the subject of films before: the wonderful and underrated The Honeymoon Killers, directed by Leonard Kastle in 1969, and the magnificent, color-sated Deep Crimson, made in Mexico in 1996.

It’s no surprise that the case has fascinated filmmakers for so long. The story of two very odd and clearly unhinged personalities who carve a murderous path across America contains everything that frightens and attracts us all: love, money, sex, lust, anger. And in du Welz’s film they all meld together to create an explosive mélange of emotions that will leave no one indifferent.

Lola Dueñas is Gloria, a lonely woman working in a morgue and living a life uncomplicated by men after leaving her husband. At the insistence of her friend she signs up for a dating site and in her first encounter meets Michel (a brilliant, heart-stopping Laurent Lucas), who claims to be a shoe salesman.

It’s lust at first sight as Gloria falls head-over-heels in love with Michel, not knowing that he is, in fact, a small-time crook who makes a living by seducing and conning lonely women such as Gloria out of their money. When she discovers Michel’s true nature, Gloria finds herself unable to walk away: the two hatch a plan whereby Gloria will help Michel with his schemes, posing as his sister. But the plan goes badly wrong when in a frenzied fit of anger Gloria attacks Michel’s prey.

Powered by incredible performances from the entire cast, Alleluia is a force of nature: it’s a thunderstorm that will stun the audience again and again, a tempest that sweeps in the viewer and won’t let go. Violent, funny, unexpected and unexpectedly touching, the story of Michel and Gloria is told in episodic encounters, each of which furthers our understanding of their true nature. Shot in glorious 16mm, the frame is as alive as the players occupying it, and each scene is staged carefully to create a sense of heightened reality, which is both captivating and unnerving.

Not only one of the best film of 2014 but also a bona fide all-time gem, Alleluia is a shocking, bold film from one of today’s most exciting filmmakers. A must-see.

This review is part of our Film4 FrightFest 2014 coverage.

Evrim Ersoy

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Painless

Painless
Painless

Format: DVD

Release date: 1 September 2014

Distributor: Metrodome

Director: Juan Carlos Medina

Writers: Luiso Berjero, Juan Carlos Medina

Cast: Àlex Brendemühl, Tómas Lemarquis, Ilias Stothart

Original title: Insensibles

Spain 2012

101 mins

It’s 1931. A girl finds her younger sister playing with fire, quite literally: the child’s arm is on fire, but she is quite calm, telling her sister that it doesn’t hurt at all. In order to share the game, she pours lamp oil over her older sister’s head and lights it with the flames on her arm. To the young girl’s horror, her sister begins screaming in agony as she is consumed by the fire. A young boy is found with abrasions all over his body; like the girl, he felt no pain as he chewed and ate parts of his own flesh. The authorities decide the best course of action is to have these children – and several others like them – incarcerated in a lunatic asylum, where they are strapped into straitjackets (with a muzzle for the boy described above) and left in padded cells where they can do no harm to themselves or anyone else.

In the present day, a doctor survives a car crash that kills his pregnant wife, although their premature baby is alive, with a slim chance of survival. When a scan is performed on the doctor’s body after the accident, it reveals that he has lymphatic cancer, and only a few months to live. In need of a bone marrow transplant, he goes to see his estranged parents, where there are revelations in store.

This synopsis only covers the first 30 minutes, so I haven’t given much away. On a technical level, Painless is exemplary. First-rate cinematography and art direction give a yellow, musty and retro feel to the scenes in the 1930s, while most of the present day scenes possess an angular, modern and sterile look. Symbols of modernity abound in the latter thread, characterized by sleek new cars, computers and scientific equipment that are at odds with the old-fashioned medic equipment that resembles medieval instruments of torture. The high-quality technical elements are matched by superior acting, particularly from Paul Verhoeven regular Derek de Lint, as a scientist determined to understand and treat the children’s condition, and Àlex Brendemühl as the dying doctor of the modern era.

However, Painless is not easy viewing. Director Juan Carlos Medina subjects his characters to every kind of indignity, misfortune or brutality, whether it is deliberate, unintentional or arises from an unfortunate twist of fate. The children inflict horrible wounds on themselves, only to be thrown into padded cells and brutalized by the staff, who treat their condition like a child’s bad behaviour rather than a medical condition. The doctor loses his wife (and possibly his son, who might not survive), develops cancer and then discovers another painful secret that may be a significant factor in his approaching demise. Even the kindly scientist has been forced to flee from the Nazis because he’s Jewish. Examples of human kindness are few and far between, and most of those can do little to stop the tide of misery and cruelty depicted by the film. For that reason it’s not an easy film to recommend, although it’s an interesting take on the legacy of the Spanish Civil War.

Jim Harper

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Honeymoon

Honeymoon
Honeymoon

Format: Cinema

Release date: 26 September 2014

Distributor: Arrow Films

Director: Leigh Janiak

Writers: Phil Graziadei, Leigh Janiak

Cast: Rose Leslie, Harry Treadaway, Bem Huber

USA 2014

87 mins

In what was one of the highlights of the Discovery Screen programme at Film4 FrightFest, newly-married couple Paul and Bea arrive at her family’s cabin in the woods for their honeymoon. Although she hasn’t visited the cabin for years, her memories of the place are positive, and quickly the two settle into a peaceful routine: walks in the woods, pancakes for breakfast and the discovery of marital routine. However, each night when they fall asleep, a strange light starts circling the cabin. One night, when Paul wakes and fails to find Bea next to him, he heads outside to look for her, and things start to take a turn for the worse.

Effectively a slow-burning two-hander, Honeymoon is an impressive lesson in stretching a meagre budget to build up tension and unease. With strong lead performances, the film works best when it is exploring the marriage at a micro level: what works as an alien intrusion in their lives can also stand for the dissolving of their relationship due to changing personalities. It is this ambiguity, further emphasized by the surprise meeting of an old acquaintance of Bea’s at the local diner, that gives the film its sharp edge.

Director Leigh Janiak is terrific at creating atmosphere early on: although the cabin and the woods initially come across as peaceful, welcoming locations, it’s the contrast with what happens when the couple go to sleep that unnerves the audience. The encounter at the diner only adds to the sensation that something is wrong. As Rose Leslie’s Bea becomes a mystery even to her husband Paul, it’s the drip by drip delivery of clues that makes watching Honeymoon an exercise in unbearable tension.

This review is part of our Film4 FrightFest 2014 coverage.

Building to a convincing and eye-popping climax, Honeymoon is the sort of low-budget film that manages to frighten without ever resorting to cheap jump-scare tactics like some of its big-budget counterparts. The intense focus on Bea adds further intrigue to this genre offering at a time when finding strong female leads is still a rarity.

Evrim Ersoy

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It Follows

It Follows
It Follows

Format: Cinema

Release date: 27 February 2015

Distributor: Icon Film Distribution

Director: David Robert Mitchell

Writer: David Robert Mitchell

Cast: Maika Monroe, Keir Gilchrist, Lili Sepe, Daniel Zovatto, Olivia Luccardi

USA 2014

97 mins

One of the highlights of the 20th Etrange Festival, which took place in Paris in September, was undoubtedly David Robert Mitchell’s follow-up to his well-received debut, The Myth of the American Sleepover. Impressively controlled and intelligently written, It Follows revolves around a simple, strong and horribly effective concept, which is neatly stated in a title that is both disarmingly concrete and rich in ramifications.

Following a sexual encounter with a boy she likes during the summer, 19-year-old Jay starts having nightmarish visions of ominous ghostly figures who follow her relentlessly. Warned not to let them touch her, Jay is continually forced to run from the incomprehensible menace, invisible to everyone else, or attempt to pass on the haunting by sleeping with someone. With the help of her sister Kelly and their friends, Jay desperately tries to find a way of ridding herself of the ghoulish infection.

Deliberately paced, the film weaves an atmosphere of inescapable dread around the characters, making unnerving use of 360-degree pans that almost casually reveal the slowly but inexorably approaching threat, brilliantly complemented by the Carpenter-style soundtrack. The locations are perfectly chosen, from the eerily empty, impeccably groomed suburban streets, only briefly troubled by a flimsily dressed girl running in fear, to a gloomy Gothic swimming pool where the friends will try to eliminate Jay’s ghost.

Normally out of bounds to the teens, the derelict swimming pool on the other side of the tracks stands in contrast to the sanitised suburbia of their homes: it is there that they will face the hideous consequences of sex. Like the best horror films, It Follows does not explicitly spell anything out, but instead plunges its audience into the prevailing mood of its time, creating an atmosphere of terror where having sex is never any fun, reduced to a fearful act performed solely with the aim of getting rid of the ghostly affliction. That pervading, consuming anxiety is economically planted in our minds in the opening sequence, the only gory scene in this masterfully restrained film. That the house number of the unfortunate first victim should be 1492 makes it clear from the start, in a similarly understated manner, that this is a film about America.

The world of It Follows is exclusively peopled by teenagers: adults play no role in fighting the threat and the youthful gang are left to their own devices in trying to understand what is happening. This adds to the sense of claustrophobia and tension, but the sense of adult disengagement may well also be part of Mitchell’s quietly damning observations. An unsettling horror tale and a chilling appraisal of contemporary American mores, It Follows is an accomplished modern gem of fantastical cinema.

This review is part of our Etrange Festival 2014 coverage.

Virginie Sélavy

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The Canal

The Canal
The Canal

Format: Cinema

Release date: 8 May 2015

DVD release date:
14 September 2015

Distributor: Kaleidoscope Entertainment

Director: Ivan Kavanagh

Writer: Ivan Kavanagh

Cast: Rupert Evans, Antonia Campbell-Hughes, Steve Oram

Ireland 2014

92 mins

One of the highlights of Film4 FrightFest 2014, Ivan Kavanagh’s shadowy horror tale starts with film archivist David asking a group of school kids in a cinema if they would like to see ghosts before showing them a silent film from the turn of the 20th century: everyone they will see on screen is dead, he tells them. This is an ominous and apt introduction, not only to the ghost story that will follow, but to the film’s look backward at the disappearing forms of its own medium.

After five years of living in a beautiful old house by a canal with his wife Alice and young son, David begins to suspect that she is having an affair. At the same time, he finds footage at work of a 1902 crime scene and realises that the murder of a cheating wife and their children by her husband took place in their house. As his suspicions become stronger, he begins to have visions of the sinister murderer and increasingly loses his grip on reality.

What makes The Canal so captivating is less the familiar story than David’s intensifying nightmarish mindscape, constructed around the secret-filled canal, neon-lit public toilets, holes behind walls and underground tunnels, building a dark, oppressive atmosphere enhanced by strong colours and elusive shadows. His obsession with – and possible possession by – the sinister murderer of 1902 does not echo only his jealousy and fear: he is a prisoner of the past that his work represents, unable or unwilling to move on and live in the modern world to which his wife seems so well attuned.

Just like its protagonist, The Canal is haunted by the ghosts of its own history, by the eerie pulsing light of silver nitrate and the fleeting beauty of its luminous contrast, in thrall to its hypnotic power, as though it were impossible to ever equal it, but also attempting to preserve it, fighting a lost fight against the evolution of the medium, trying to keep what is dead alive. Interestingly, this simmering anxiety about the future of film was present in a number of other titles in the FrightFest programme. It may be telling that The Canal ends on a bleak, uncompromising note, with the characters condemned to remain trapped in an ever repeating cycle: it seems that for them as for cinema there is no escape from the past.

This review is part of our Film4 FrightFest 2014 coverage.

Virginie Sélavy

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The Harvest

The Harvest
The Harvest

Director: John McNaughton

Writer: Stephen Lancellotti

Cast: Samantha Morton, Michael Shannon, Natasha Calis, Charlie Tahan

USA 2013

104 mins

Children in peril and dysfunctional families were a running thread throughout Film4 FrightFest this year, and like another heavyweight of the festival, Jennifer Kent’s The Babadook, John McNaughton’s The Harvest involved monstrous motherly love, self-reliant children and dark secrets in the basement. After a 13-year absence from big screens, the director of Henry: Portrait of a Serial Killer proves here that he remains a master at plumbing the depths of twisted human behaviour.

A fairy tale of sorts (McNaughton said in the Q&A afterwards that the film’s structure was loosely based on ‘Hansel and Gretel’), The Harvest centres on a doctor, Katherine (Samantha Morton), overprotective mother to a sick child (Charlie Tahan), for whom she obsessively cares with her husband and former nurse Richard (Michael Shannon) in a country house. But when Maryann (Natasha Calis), a recently orphaned girl, moves into the area and befriends the wheelchair-bound Andy, she dangerously upsets the fragile balance of the family and forces its secrets out.

Samantha Morton is extraordinary as the woman turned ogress by hurt, alternately tender and terrifying, while Michael Shannon is remarkably nuanced as the weak husband complicit in his wife’s terrible decisions. Together they form a horribly believable couple bound by tragedy and guilt, capable of anything to protect their family, with only Maryann standing up to them.

The story assuredly simmers until the pace quickens and the tale turns increasingly disturbing. McNaughton skilfully toys with the audience, leading us in one direction before making a sharp turn into entirely unexpected territory, revealing a truth far darker and a love more perverted than could have been imagined.

Set among beautiful autumnal woods, the film, like its title, gives a deceptive appearance of bucolic melancholy, only belatedly revealing its full horror. A slow-burn that stubbornly follows its own path, it is an impressively mature and weighty return to cinema for John McNaughton.

This review is part of our Film4 FrightFest 2014 coverage.

Pamela Jahn

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The Babadook

The Babadook
The Babadook

Format: Cinema

Release date: 24 October 2014

Distributor: Icon Distribution

Director: Jennifer Kent

Writer: Jennifer Kent

Cast: Essie Davis, Daniel Henshall, Noah Wiseman, Hayley McElhinny

Australia 2014

93 mins

The Babadook website

Championed by Rosie Fletcher, editor of Total Film, The Babadook was the big discovery of this year’s Film 4 FrightFest. Written and directed by Jennifer Kent, it is an oppressive Australian drama that uses a children’s story to talk about the monsters that lurk in the dark corners of the mind.

The Babadook is released in the UK on DVD and Blu-ray on 16 February 2015 by Icon Distribution.

Essie Davis gives a masterful performance as Amelia, the downtrodden mother who lost her husband in a car crash the day she gave birth to their son. Sam (Noah Wiseman) is a troubled, anxious young boy dangerously obsessed with fighting monsters. One night, Sam finds a mysterious book on a shelf in his bedroom. Puzzled, Amelia reads him the story of The Babadook, which becomes increasingly sinister and threatening as they turn the pages. Soon, it seems that by opening the book they have indeed invited a dark force into their house.

Skilfully directed, the film is perfectly poised between real and unreal and manages to be both emotionally rich and disturbingly creepy, remaining ambiguous to the end. The Babadook is a great new monster, both childish and chilling with its striking silhouette and unnerving cry. Under its spell, roles shift to reveal that things may not be as straightforward as they had first appeared.

The relationship between mother and son is beautifully complex and poignant, and Essie Davis and Noah Wiseman are compelling to watch, shifting between various moods with nuance and conviction. Initially agitated and irritating, Sam becomes sweet and brave when Amelia has to confront the monster. And while at first he appeared to have behavioural problems that isolated him from other children, it soon looks like he may understand the situation much more lucidly than the adults around him.

Confirming the subtlety and profound individuality of her approach, Kent refuses to follow conventions and ends her film in an entirely unexpected and heart-breakingly resonant manner. As the book says, once the Babadook is in, you can never get rid of it. But you can learn to live with it.

This review is part of our Film4 FrightFest 2014 coverage.

Virginie Sélavy

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