A couple gets away to a friend’s cabin for the weekend to reconnect and spend some quality time together. Dan (Isaac Jay) and KJ (Brittany Bradford) have been having a rough time lately and they feel this may rekindle their relationship.
Not long after they arrive an uninvited guest Eliza (Gloria Bangiola) does too, putting a big crutch in their plans. She says that she was unaware it was inhabited and that she was also given the place for the weekend. Their initial skepticism is slowly put on hold as they are forced to be cordial and deal with the unexpected.
Out of kindness, and her general pushiness, they let her in, but for KJ it is especially difficult to hide her unease. Their new arrival has the kind of saccharine personality that grates but can’t really be faulted, putting them in a state of unnecessary and delicate dislocation.
source: HorrorFest International Film Festival
While never uproariously funny, Glue Trap does something even more impressive: it shows a steady hand of clever lines and subtle nods of hilarity. Justin Geldzahler’s writing is wry and engaging, and his dialogue is believable but not without a wink of cheeky goodness.
Much like Speak No Evil did previously, GlueTrap drives with discomfort first, getting under your skin with the fear of social graces and awkward conversations. Lingering, though, is another presence, that gut impression that something is not quite right here.
When it comes to the surface and motives are disclosed, there’s little time to escape.
Justin Geldzahler’s direction is confident and shows immense detail in little things, making this mostly one-location film feel bigger in scope.
I was surprised by the doses of heart that came, especially in the final act, amid horrifying circumstances and humorous musings. Some heady themes beneath the initial conceit and lovely moments of reflection made me choke up. It also captures the difficulties and dynamics in relationships, taking something familiar and placing it within an unfamiliar and horrifying premise.
To say this film grew on me as I watched it and showcased Justin Geldzahler’s excellent feature writing/directing debut would be an understatement. This doesn’t feel like a debut; it’s skillfully done with just the right pacing to make you feel the potential for survival as it slips away.
It is also a lot of fun, what you’d want and hope for when it comes to a horror/comedy. There’s an entertaining feel heightened by a wicked third-act turn.
Glue Trap is a masterful debut feature, showcasing a new and talented voice in horror.
It premiered at HorrorFest International Film Festival and will have its NYC premiere at the Big Apple Film Festival (Saturday Nov 4 at 5:30pm).
We’re so excited to share with WW&H Filmmakers & Film Lovers alike the 2023 KINO Short Film Fest. Proudly sponsored by Panavision & Final Draft. Applicants and filmmakers from all over the globe can submit short films in all genres.
The winning filmmakers will receive one of two top prizes: The Judge’s Choice of $25,000 The People’s Choice of $5,000 Other prizes awarded: Best Drama Short Best Comedy Short Best Experimental Short Best Documentary Short Best LGBT Short Best Horror Short Best Sci-Fi Short Best Animated Short Best Student Short
Films are also eligible for consideration for KINO (a film finance company) to collaborate with a filmmaker to make their feature film. No other film festival offers this. Each category will be adjudicated by a series of working professionals specializing in that genre (i.e. Animation = Pixar Animator. Horror = SAW Franchise Writer etc.) Winners will be announced live in Los Angeles on January 31st, 2024 at the historic Hollywood Legion Theater.
APPLICANTS CAN SUBMIT HERE. Discount Code: ‘WW&H’ for one-time submission for WW&H Filmmakers. OR a KINO Pro option at $12.99/mo (this one is great if filmmaker has more than one short as multiple submissions are included + industry workshops, events and more) For more information, check out: KINO Website KINO Instagram
KINO PRO is a community and a network of filmmakers that collaborates and builds the future of film together. We connect the right people to epic opportunities. Part of KINO’s MISSION is to build a network of creatives while championing and supporting emerging filmmakers. Beyond submitting your short, you’ll be able to create a public profile and include each cast/crew that participated on your short film. This creates the opportunity to celebrate each role on a film set and get noticed for your work outside of this competition. KINO is creating the bridge from emerging to working filmmaker. We look forward to seeing how YOU tell stories.
Questions? Don’t hesitate to reach out. brit@kino.studio
Under the direction of Ariane Louis-Seize, Humanist Vampire Seeking Consenting Suicidal Person interrogates a novel premise: What if a vampire harbors an inherent distaste for consuming human blood? This unique narrative is wonderfully woven with elements of compassion, humor, and ingenuity.
The narrative orbits around the adolescent vampire, Sasha (Sara Montpetit), who finds herself wrestling with the morbid expectations of her lineage. Her vampiric pedigree necessitates a diet of human blood, yet she finds herself at odds with this gruesome reality. Especially when it comes to taking a life.
From the first frame, I was instantly drawn in by the film’s quirky introduction. Sasha forms an unexpected emotional connection with a clown at her birthday party, oblivious to the fact that he was intended to be her inaugural feast, a tradition anticipated by her vampire kin.
The film deftly navigates the tumultuous waters of emotional trauma and compassion. Sasha’s father (Steve Laplante) exhibits empathy for her quandary, while her mother (Sophie Cadieux) insists on adherence to their vampiric tradition. Sasha’s refusal to succumb to her nature threatens her existence, leading her to find solace in meetings for individuals coping with depression. Upon crossing paths with the suicidal teenager, Paul (Félix-Antoine Bénard), Sasha perceives a potential resolution.
Their relationship evolves into an unconventional alliance, with Sasha striving to circumvent the necessity of ending his life. She posits the fulfillment of a final wish – to retaliate against his oppressor, Henry.
Despite some of the macabre elements, it exudes an endearing sweetness, effortlessly dismantling the barriers of societal norms. It encapsulates the essence of adolescent romanticism and life’s tribulations through a lens of humor and poignant commentary.
source: Toronto International Film Festival
The film’s subdued color palette aligns with its tonal subtleties, while the remarkable performances of the young leads imbue the narrative with a sense of depth.
This melancholic dark comedy breathes new life into the vampire subgenre and emerged as an unexpected gem at this year’s festival, which I found utterly captivating.
Christine Doyon‘s script is a triumphant display of wit and deadpan humor. Sophie Cadieu delivers a stellar performance, her stoic resolve gradually unveiling a captivating expressiveness.
Humanist Vampire Seeking Consenting Suicidal Person intertwines elements of romance and a profound exploration of humanity. The film is a heartwarming and inventive cinematic experience that offers a refreshing deviation from conventional vampire narratives, proving both enthralling and unforeseen.
Simultaneously presenting a tale of supernatural creatures and an exploration of the human psyche, it leaves a lasting impression.
With an artful blend of dark comedy, fantasy, romance, and humanistic exploration, it’s a beacon of inventive filmmaking and is certain to delight discerning viewers.
Let’s breathe new life into familiar tropes or rather… get some fresh blood.
Humanist Vampire Seeking Consenting Suicidal Person had its premiere at this year’s Toronto International Film Festival.
The midnight section of the Tribeca Film Festival is always a place for adventure. It’s one I escape to fondly and with open arms as it frequently allows for some interesting creative dives, and showcases genre-bending curiosities.
It also gives first-time directors such as Hugo Ruíz, the opportunity to present a bold vision, as with his film on this year’s slate:One Night With Adela. It’s got bravado in its positioning and angered temperament that will prove to be wholly divisive among viewers.
Set in Madrid in real time and edited as one shot, we ride with street sweeper Adela (Laura Galán) as she releases a vengeful pursuit of the city. She calls into a nightly radio show as Ariel, where she admits to the host that she intends to inflict pain, but how and why is yet to be seen.
Her motives or backstory aren’t clear in the beginning, but her rage is palpable. What culminates is a mix of drugs, violence, and sex that tests the viewer’s patience and constitution.
Laura Galán is fantastic. Coming off of another similarly paced, (but much clearer in its intentions) film, Piggy, the actress again commits and truly embodies Adela. She captivates as much as she infuriates but she never lets her command of the camera falter.
“A Human Wreck.”
The choice to film Adela as one long shot over the course of a whirlwind of a night is a stylistic choice that mostly pays off. Aesthetically, the movie strives to match the woe of our lead with the backdrop of a sullen and desperate city in the throes of late night.
source: Tribeca Film Festival
There are some intriguing moments and clever vehicles for tension building such as a scene where the camera stays fixed on a television set while a nature show talks about cuckoo birds, and Adela moves around off-screen. Unsure of what she is up to, unease permeates.
Each encounter speaks a warning, and when a shocking reveal occurs it effectively lives in your stomach.
The final sequence becomes too much of a monologue and while it provides some insight that shows her actions aren’t random but premeditated, it removes some of the previous, slowly built agony that we join her for. It adds some distinction, but it doesn’t necessarily add a lot of depth. In a way, I preferred the uncertainty.
I felt conflicted throughout the movie, often wondering if I admired or admonished some of the choices. In the end, it was both. By no means a perfect film, laden with miscalculations, I couldn’t get Galán out of my mind. Something tells me that’s exactly what Adela would want.
An ambitious project and dizzying bewilderment of excess and impulsivity, One Night With Adela may not have an entirely winning hand, but it goes all in.
One Night With Adelapremiered at the 2023 Tribeca Film Festival.
When originality seems so rare these days, it’s refreshing to feel inspired after seeing a film, especially when it’s a strange, surprisingly standout ghost story.
Elena (Callie Hernandez) runs into a friend she hasn’t seen for some time, Jessica (Ashley DeniseRobinson), while looking after her grandmother’s home. The two head back to catch up, and she finds out that Jessica is trying to get away from her very insistent, relentless stalker Kevin (Will Madden). Elena, sharing some details with a person we only hear, after an intimate encounter, tells the story. A lot of what really happens is shrouded in mystery for a while, but it is clear both of these women are running from their own sort of demons.
There is an abundance of black humor worked within that makes this 70 minutes soar by. There are times when I was laughing out loud, and by its end, I was audibly saying, “aww.” I don’t want to give away too much, but within this property, there’s an underlying (and not fully explained) magical presence that traps ghosts in its midst. So, basically, if your body is brought to the property, you’ll be stuck there (though there are three ways to get rid of ghosts, as we soon learn).
Pete Ohs directs and also co-writes with Andy Faulkner, Callie Hernandez, Will Madden and Ashley Denise Robinson (talk about a collaboration). It’s a character-driven take on ghost stories, giving us a personal and yet entertaining foray. At times chilling, at times ethereal, Jethica hits some key, ghoulish notes.
source: SXSW Film Festival
The environment of New Mexico is not only utilized but also used to enhance the sensation of these characters’ isolation. It’s beautifully filmed, with some terrific long shots.
There’s a lot to unpack with Jethica, more than you may even realize until the credits roll. It wields its humor with a sharpness that never feels forced but still manages to make you feel.
It simultaneously seems ominous and yet hopeful. It mixes genres, and with strong lead performances, the film keeps us wondering what exactly will happen. Even as the movie came towards its close I wasn’t sure, and I was worried it would be anti-climatic. But, by its finish, I was happy with its decisions and it felt warranted. I can imagine others handling this differently, but its sensitive end felt more in tandem with the story being told.
This shows how a low-budget, minimalist approach can be effective, especially when the characters and themes loom so large. The supernatural, the dangers of stalkers, and the sense of connection and contentment all play a role in this intriguing mix. There’s clearly love put into this picture. It portrays stalking in a real way, while also expressing vast amounts of humanity and charm.
Quirky, hilarious, and somehow cathartic, this movie perfects just the right amount of earnest charm. It maximizes on its dry humor while honing it’s bittersweet mentality and terrific performances, all residing within an unique ghost story. Ultimately compelling and wholly original, I loved Jethica. So far, this festival’s standout!
When Sarah (KarenGillan) finds out she has an incurable disease that will take her life, her next step, obviously – is to choose whether or not she wants to get a clone of herself made. Because, of course, in Dual‘s reality, that’s not only an option, but it is encouraged. It allows you to prepare your loved ones for your demise, and make it easier when you’re gone, because, well, a version of you will remain.
There isn’t a whole lot of consideration, but an hour later and we’ve got two Sarahs.
When she receives the good news that she is no longer dying, she is told her clone is set to be recommissioned. Unless, the double wants a life for herself, then she can request a duel to the death. For there can only be one Sarah.
Not only that, but after some time, the loves ones in her life seem to prefer the replacement. Overall, Dual‘s future and Sarah’s apathy towards existence is pretty damn bleak. By its close, I can’t say that aspect has changed much, but it’ll leave you thinking, and hopefully laughing along the way.
In one of her best performances, Karen Gillan nails the dry deadpan, bouncing between intentionally stoic and yet infallibly human. Before this happened she was in an unhappy relationship, brimming with loneliness and complacency for life. When she finds out she’s sick it strikes as more inconvenient than tragic, but by the film’s end, she displays a ferocity that makes her rootable.
This isn’t a film teaming with likable characters, and everything is given to us in a matter-of-fact way that’s both awkward and strange, yet delivered in a way that makes the audience feel like the odd ones. It pulls some inspiration from Yorgos Lanthimos’ The Lobster.
That’s also part of the charm. Stearns’ subverts expectations throughout the movie, making it hard to know exactly where things will go next. It’s tragic, and it is cynical so it’s bound to be divisive among viewers. The purposely stiff performances and mashup of tones and genres may make some woozy.
I like my science fiction film to have an element of the strange with a clever bite. Dual most certainly has that and there is more to appreciate than snicker at. Its bold ideas kept me intrigued, and was not at all what I was expecting, proving that Riley Stearns has a signature style that can really entertain. Aaron Paul plays Trent her trainer for the dual, and he is also hilarious. Some of their scenes are my favorite within the film, including an unexpected dance lesson and a slow-motion fight training session. For the most part though, this is Gillan’s film, and she manages to hold it the whole way through.
source: Sundance Film Festival
I found myself consistently engaged, curious where things would end up. But we didn’t need a dog to die, (just saying) and preparing anyone who needs to know it prior to going in.
Little flourishes, especially when it comes to the comedy, really sold me on the film. The narrative leans on humor more than the intellectual, which doesn’t always pay off. Did it astound? No. But, it took its swings, and finished with a bold finale.
With absurdity in troves, Dual takes an introspective approach and consideration for the will to live and claim your life. The dark comedy sci-fi has a lot to appreciate, especially the deadpan delivery and quirky storytelling choices (love the dialogue). Karen Gillan & Aaron Paul are pitch-perfect.
For the last week or so I’ve been lucky enough to watch a lot of impressive films virtually at this year’s Toronto International Film Festival (for the rest of my coverage go here filminquiry.com). But for the most part, surprisingly, I haven’t seen a lot genre, specifically, horror films.
Toronto Film Festival’s Midnight Madness, much like other festival that have midnight showings, is for the horrors: the strange and unusual (HELLO!). This year there were two I was able to catch that seemed especially born from a strange and eerie, and different… place: You’re Not my Mother & Saloum. Be on the lookout for both of these directors who are sure to continue to do imaginative work.
source: Toronto International Film Festival
You’re Not my Mother (Kate Dolan)
This folktale inspired story intertwines the youthful uncertainty of being a teenage girl, dealing with a loved one who a mental illness, as well as the supernatural/superstitions that come out of small towns and family secrets.
Char (Hazel Doupe) lives with her grandmother and mother, Angela (Carolyn Bracken), who suffers from depression, and seems on the precipice of something bad. At school she has to deal with consistent bullying, that often goes dangerously too far. When her mother goes missing, and then returns, Char can tell something is wrong right away. Like the title suggests, this isn’t the woman -her mother- who left.
Her mother’s behavior continues to grow more unexpected and volatile. There are a few sequences where her actions are more odd than supernatural, and you aren’t sure if it’s mythical or just medical. Most of the film takes places inside the home, really spotlighting domestic discomforts and how any place can really become terrifying given the circumstances.
Kate Dolan‘s directorial feature debut dances a bit between psychological thriller and horror, effectively being terrifying at times, but often choosing a slow build, more tense, reveal. Using the changeling folklore and making it new, there’s an interesting idea at the center of You’re Not My Mother.
Occasionally the film moves too slow, with lulls that would threaten your attention if there wasn’t already an underlying sense of dread that keeps you invested. I think the story takes on a bold idea, but doesn’t entirely commit. I would have loved it if the film went weirder and darker, but still found a lot to appreciate. All of the performances are great, especially Hazel Doupe.
By blending folklore with horror, psychological with the supernatural, and relying on a quiet terror rather than a flashy reveal, You Are Not My Mother builds a creepy base for which the talent to stand on. I always love a good twist of folklore, and there are some scenes that are definitely unforgettable.
While it’s a simple story, it’s still an effective one. You Are Not My Mother utilizes talented performances, a creepy atmosphere, and an unescapable dread. Look out for Kate Dolan, horror-world!
Saloum (Jean Luc Herbulot)
source: Toronto International Film Festival
Crime? Horror? Western? Fantasy? Saloum mashes all of these genres up, spins them around, and produces something truly unique. As one of the biggest surprises for me at TIFF this year, this unexpected watch proved to be quite the spectacle.
Saloum is a confident directorial vision that manages to be both bizarre and absorbing. Over the course of its lean run time it manages to reinvent itself time and time again.
It starts with the three mercenaries, the “Bangui Hyenas” Chaka (Yann Gael), Rafa (Roger Sallah) and Minuit (Mentor Ba) along with a drug trafficker. A badass opening scene gives us a quick intro to each of these different personalities. When they escape with millions in gold in tow, they soon realize they have to land their plane unplanned, in Saloum, Senegal. The group then heads to a local camp that is run by Omar (Bruno Henry). What starts off as an unexpected stop, soon switches to a purposeful destination. They aren’t alone here, with a few guests and staff residing, and some buried, dark, secrets.
There’s a lot of inspiration pulled from a variety of film styles and genres while also manufacturing something inventive. Saloum keeps the suspense alive while also making time for humor. The lively scores ensures that the pulse is kept high.
“Revenge is like a River.”
From the very beginning the ominous whisper of revenge lingers in the story, and when it finally comes to a screaming head, the events to follow include a supernatural fight for survival. You remember this is midnight madness, right?! Friend and foe have to team up if they are going to make it out alive. This unexpected group carries terrific chemistry, including Awa (Evelyn Ily Juhen) a mute guest, who proves she has just as much bravura as the rest.
Bursting with energy, Saloum doesn’t shy on being consistently entertaining. It’s not a perfect film by any means, at times feeling rushed, but it manages to create a lively mash up that is easily guaranteed to be something you haven’t seen before. While the film is brimming with talent, Yann Gael and Evelyn Ily Juhen were stand outs to me, though the chemistry of the entire cast, especially within the initial group is notable.
There’s really no waste with this fast-tempo’d thrill ride. Halfway through the film, once the curtain is down and the Wizard is – as you will- at colorful play, the film moves even faster, over-relying on horror and style and less on story. I would have appreciated a little bit more time with it, especially if it meant giving extended insight on certain elements. Yet, the movie still manages to sweep you up, and even if I feel like I’m dropped into a story that’s already got quite a past (something I’d love to see, Hyenas prequel anyone?) I enjoyed the ride.
I won’t give away some of what makes this constitute as a horror because it’s best going in knowing less, but once the movie goes into hyperdrive it is reeling with an pulpy almost video game aesthetic. I really loved the costumes, cinematography and the eye catching detail to color. It’s a bold, intriguing narrative that really soars with the help of the visual flair. It’s atmosphere and location are also both striking and unsettling.
Saloum spins a vibrant combination of genres and tones that makes for a blast of a viewing experience.
Were you able to see either of these? Let me know your thoughts!
Wonderfully Weird & Horrifying 