As we rely more and more on technology to make connections (especially as the ever present quarantine isolation marches on) it makes sense that tech based horror would become more prevalent in the genre in new and interesting ways. Just as Host did last year, Filtered is able to effectively communicate horror and anxiety in the simple yet brilliant format of video chat. With a runtime of less than six minutes, writer/ director Vincenzo Nappi doesn’t have a lot of time to establish characters or backstory, yet is able to make both Jasmine (Jasmine Winter) and Marco (Marco Carreiro) immediately feel genuine and real with the sparse information provided. This goes a long way to making their initially mundane conversation all the more familiar at the start and therefore more frightening by the climax. With simple yet effective imagery that recalls the classic David Lynch shortThe Alphabet at times, this is an amazing piece of bite-sized horror that feels very apropos to the moment.
Typically in short films it’s best to dive right into the action and Forced Entry does just that as it plunges you into the world of psychotic drifter duo Arthur Maddox (Tom Lodewyck) and Donovan Hatche (James Bett Jr). The film follows the pair on a brutal killing spree over the course of a couple of days and was inspired by real life murderers Lawrence Bittaker and Roy Norris who raped and killed five young women in 1979. Even though brief footage of the real killers is shown at the end, the connection they have to the film probably wouldn’t have been clear to anyone who didn’t have the luxury of reading the highly detailed press kit. Even so, the shots do still serve to illustrate the point that our real world is filled with brutal, sadistic violence that usually occurs without much motive or rational explanation.
The story here is definitely pretty bare bones as most of the twenty-four minute runtime is taken up with extended scenes of mean-spirited violence. That’s not at all a bad thing in this case though, because even without a more robust narrative, the film still manages to be highly compelling with some truly impressive practical gore effects and excellent performances from the victims. It also makes sense given the fact that K.M. Jamison (who co-wrote/co-directed with James Bett Jr) said in a statement that the film is intended to function as a kind of showcase for what will hopefully be turned into a feature someday. In that regard it’s highly successful and I’m very on-board to see this nasty little story get fully fleshed-out in all its blood-soaked glory.
It’s always a bold move to try adapting a piece of classic literature, especially one that has been done numerous times before. A director has to be very confident that their particular take on the subject matter has the chops to stand out from the other iterations and prove that there’s a reason for the story to be told yet again. Even though Edgar Allan Poe’s 1843 short story has already been adapted to film over a dozen times, director McClain Lindquist still felt that there was something unique that his take could offer and frankly, I’m damn glad he did.
The story of a caretaker (Sonny Grimsley, credited here as “The Narrator”) who is driven to murder because of his hatred for his elderly employer’s one blind eye is told within a modern setting but with some novel tweaks. The Narrator himself seems to be a man out of time (the cops themselves note that he “talks like he’s in an old movie”) but this eccentricity works wonderfully well and justifies the preservation of much of the original language from the story. Despite its modern setting Lindquist adheres to the soul of the source material and although the violence is significantly more graphic than what is merely hinted at in the original text, it perfectly fits within the style of this adaptation.
The film is exquisitely executed with incredible camera work and special effects that visually guide The Narrator’s rapid descent into madness. There is also some excellent practical effects work and the judicious use of occasional graphic violence further enhances the horror elements of the story. Speaking of effects, I did find Lindquist’s choice to use prosthetics to age-up the actor playing the old man by about fifty years rather than hiring someone age appropriate a bit confusing but this may have simply been an issue of actor availability. Don’t get me wrong, the prosthetics themselves are excellent and very convincing but like pretty much every aged-up actor they end up ultimately residing in the uncanny valley.
Of course effects are only one ingredient here and it’s Grimsley’s mesmerizing performance that really steals the show. Although the performances of the officers opposite him fall a bit flat by comparison, they are still serviceable and Grimsley’s bombastic character is sure to draw the viewers’ attention regardless. Minor issues aside, this is an excellent adaptation that really leans into the horror and creates a unique experience that fully justifies the retelling of this classic tale. In fact, I would go so far as to say that this should be considered the definitive take on the material and certainly the first place any fan of the story should look.
Friend of the World exists in a very strange space. Originally penned in 2016, writer/director Brian Patrick Butler conceived of the story as a reflection of the political anxieties of the time. Now that it’s finally ready for release in 2020, this post-apocalyptic film about racial/cultural disparity, isolation, and paranoia feels almost painfully prescient. Some films are able to be an effective reflection of their time but the degree to which this one was able to accurately predict what 2020 would feel like is just plain unnerving.
The main story begins with a young black woman named Diane Keaton (Alexandra Slade) waking up in an underground bunker in a room full of corpses. After making her way out of the room and deeper into the bunker itself, she soon encounters a middle-aged white man named General Gore (Nick Young) who lives down there and seems to know more about the apocalyptic event that occurred on the surface world than he is letting on.
Given the short runtime it’s hard to say too much about the plot without getting into spoilers but suffice to say this is a strange film that gets more surreal by the minute. Much like the Lynch films that this is clearly drawing influence from not everything you see will have an immediate and obvious explanation but there is a lot beneath the surface waiting to be brought to light by further analysis and discussion. That being said, the narrative never feels lost or nonsensical and Butler effectively uses his unique visual style to communicate a feeling of accepted reality giving way to a nightmarish world of body horror and insanity.
A stylistic example of this is the choice to have most of the film in black and white while idyllic memories of the world before play out jarringly in full color set to a background score of an almost unrecognizably discordant version of ‘Ode to Joy’. There are also a lot of impressive visual techniques at work here that create an uncanny and menacing effect. From simple sped up visuals that give an eerie and unnatural sense of movement to full on face melding that looks straight out of Tetsuo: The Iron Man, there is a lot to love here visually.
It’s not just visuals at play here though as the conversations between the cigarette chomping alpha male Gore and the young, gay, activist artist Keaton are very engaging and packed with commentary and subtext. The small cast all do an excellent job but Young especially shines with his portrayal of the patriarchal Gore whose bravado and subtle menace make for a mesmerizing on-screen presence.
This is a piece of art that is very much of this moment and really taps into the surreal horror that we are experiencing in the world at large right now. When we look back on the quarantine days it will be films like this and Host that will stand as an artistic representation of the anxieties of the time. Hopefully we won’t be watching them from a bunker.
Clocking in at under ten minutes total (only about seven of which is the actual film) Duérmete Niño (Rock-a-bye Baby) is an interesting little slice of horror. Inspired by a real, sleep deprived nightmare that director Freddy Chávez experienced after the birth of his daughter, this short captures the horror and anxiety of being a new parent in a very creative and unusual way.
In the film Piercey Dalton plays a single mother of twins (a terrifying enough prospect in and of itself) who begins to hear strange noises through the baby monitor that connects to her children’s room. Text in the beginning lets us know that the use of baby monitors can actually be traced back to 1937, an interesting fact that also properly justifies the 1940’s setting. The retro feel adds an extra layer of creepiness to the film as technology from that era was so inherently clunky and prone to dangerous malfunctions. It also allows for the inclusion of an animated faux commercial for the monitor that serves as a fun bonus during the credits.
When viewing this film it is clear that a lot of care and effort went into crafting not just the atmospheric setting but also the tense, well paced story that leads to a horrific and immensely satisfying conclusion. Dalton is essentially a one woman show and does an excellent job in conveying real pathos and emotion through a dialogue-free performance. The skillful use of special effects really seals the deal and makes this one short that is well worth your modest time investment. A must-see film that was inspired by nightmares and will certainly go on to inspire quite a few more.
Ahhh corpse fucking, a taboo subject that even the most hardcore of Extreme Cinema films rarely delve into. Sure, directors are willing to mutilate teenagers with chainsaws and machetes all day but once you add in a touch of deviant sexuality it goes to a whole different level for most people. Obviously you’ve got your underground classics like the Nekromantik films or even a bizarre romantic drama like Kissed, but all in all it’s a pretty short list of films that make necrophilia the central focus. Of course, an essential entry to that list is Nacho Cerdá’s ultra twisted mini-masterpiece, Aftermath.
There really isn’t that much to say about the story beyond the fact that it centers around a deviant forensic surgeon (Pep Tosar) who has his way with the corpse of a young woman in one of the more shocking and disturbing sequences ever put on film. The fact that it’s light on story really doesn’t matter much in this case since it’s the incredible visual style that does the heavy lifting in this dialogue-free film. Much like A Serbian Film, the thing that makes this so effectively shocking isn’t just its subject matter, but also that it’s just so goddamn well made.Every detail inside the surgeon’s lab is so meticulously created that it gives an incredible level of authenticity to the overall film. This is helped greatly by the fact that it was filmed within a real forensic institute in Barcelona and that Cerdá had the chance to witness an actual autopsy prior to filming. While the little details are great, the real showstoppers are the corpses themselves, masterfully crafted by special effects studio DDT. Each cadaver has such brilliant attention to detail that they come across as genuine characters right down to the tracks in one man’s arm that were probably the cause of his death.
Speaking of genuine characters, Tosar does more with his incredible eyebrows and menacing stare than many actors are able to accomplish with two hours of dialogue. Added to this is the fact that every shot is expertly crafted and the whole thing is scored to Mozart’s hauntingly beautiful Requiem in D Minor. It’s these small but significant touches that really elevate Aftermath beyond just a shocking video into the visually arresting and provocative art that it is.
When working within the medium of short film it’s essential to communicate a lot of information in a small amount of time. Making the audience feel for the characters and telling a worthwhile story from beginning to end in just a few minutes is a very challenging task but Davide Melini’s Lion does all that and more within its concise runtime. Located entirely within the confines of an isolated family home somewhere in the snowy wilderness, Lion tells the story of an abused little boy who wishes his favorite animal could come and protect him from his own family.
Lion has a very professional feel to it, especially for a short, and has the rare distinction of actually using CGI properly. Not only is the CGI that is on display of excellent quality, but Melini also shows great restraint with a less-is-more approach that makes the scenes that contain it incredibly effective. The film is well edited, delightfully bloody, and centers around the very real and very horrible problem of violence against children. I do think that the character of the father could have been dialed back just a little to be even more effective but that’s a small note within this nearly perfect film that is well deserving of the numerous accolades it has already received.
When you have a total runtime of under five minutes you have to pack a lot of content in to create a memorable experience. Fortunately Not in My Mouth does just that and is able to do a lot with it’s micro story in just a few short minutes. Set against a delightfully discordant and aggressive score by White Gardenia and Geimhreadh, the film is directed by (and stars) Poison Rouge, director of the newest American Guinea Pig film, Sacrifice.
It’s hard to talk much about the short plot without giving it all away but let’s just say it involves a bath, some torture, and even packs in a nice reveal at the end. The rest you’ll have to see for yourself and see it you should because NiMM is brutal, sexy, and just a great way to spend a few minutes. The gore is well done and the reverse shots from inside the mouth of the torture victim are especially innovative and fun. Really delivers everything you could want in a what’s essentially a music video and a bloody good one at that.
Creating a short film that tells an interesting and compelling story within the span of minutes can be challenging. Shorter films don’t have to hold the audiences attention for as long but also have less time to develop the plot. In the case of I Baked Him a Cake, the running time of only five minutes requires that a lot of story is packed into a very short amount of time, so let’s see if director Vanessa lonta Wright is up for the challenge.
The first thing that I noticed with this film is that it’s very professionally shot and the opening scene sets the tone with some great high-contrast shots and excellent sound design. It also helps that the first shots are very engaging and leave you eager to see how it will play out. Of course, bad acting can instantly derail even the most interesting stories, especially when only two actors are involved. Luckily, in this case, both actresses do an excellent job with their respective roles and imbue the scenes with the realism, tension and underlying menace that is needed.
Everything here is competently done, so my only real complaint is that I feel like the film shies away from gore in some key places. Aside from the blood-soaked bathroom, we don’t really see any, and rather than having the opening scene represented with shadows, it would have been more effective to show a nice, graphic practical effect. I also felt that the ending was a bit abrupt and would have benefited from having a gruesome reveal to close it out instead. Obviously, these were stylistic choices made by the director, but unless there is a strong reason not to, it’s always best for horror films to really lean into the gore and violence, and it looks like this production had the means to do so.
It also could be that the film is deliberately open-ended in order to expand the story more with a future work. I’m hoping that the latter is the case, as there are a lot of questions about motivation and what happens next that would be very interesting to explore.
Thematically, the film brings up some interesting ideas such as how much influence a caretaker has over a child who must look to them to provide a sense of normality, even in a very abnormal situation. In the end, this is a short but sweet film that packs a surprising amount of emotion into its tiny runtime and actually made me feel for the character of the daughter quite a lot, which is not an easy feat to pull off in something that’s the length of two movie trailers. It also made me want to see more about what’s going on in these characters’ lives and look forward to hopefully seeing what Wright can do with a feature some day.
Even though it’s a tremendous amount of work creating a short film, it is undoubtedly a far more achievable task then attempting a feature, and a great way for indie filmmakers to hone their craft as they try to break into the business. Still, it comes with a unique set of challenges and being able to tell an interesting, concise, story in a very limited amount of time, is the most important (and difficult) of all. Given that most shorts are made independently, with very limited resources, there’s bound to be some rougher edges, but discerning audiences are willing to overlook such things as long as there is a compelling story at the core. So, does Coming Home have what it takes to be an indie short that’s worth your time? Well, lets discuss.
The story centers around a goth teen serial killer who goes by Craw (Nicholas Trivisonno) and a man named Richard (D. Duckie Rodriguez) who is trying to track him down with the help of his wife and son. The film also makes a point of explicitly letting you know that it takes place in 2003, which is curious since the date has no relevance to the plot and the entire story takes place within the same year. However, the conclusion is very open-ended and it’s possible that the date would be a factor in a sequel or if the short is adapted into a feature. I’m hoping that’s the case and the date wasn’t just put in to justify the tepid jokes about computers being “magic boxes that everyone will have someday” even though by 2003 they were already ubiquitous.
For a short film to work, it must get right into the action and immediately pull you in. Fortunately, Coming Home does just that and, right from the cold-open, sets up a world that you want to see more of. Director Shiva Rodriguez is able to strike just the right balance by naturally revealing the information you need without resorting to clunky exposition to move the story along. She is also able to imbue the story with enough mystery and intrigue to make the viewer want to watch until the very end to see how it will all play out.
Trivisonno gives a very solid performance as the emotionally damaged Craw, but a few of the other actors fall a bit short of being able to portray their characters with enough emotional resonance for the audience to properly suspend disbelief. Now, it was clearly a stylistic choice to have the first murder occur in the background out of focus, but it undercuts the power and emotional weight of the act if we don’t properly see it. If there is going to be violence in a film, it’s always better to show rather than imply unless there is a good reason to hold it back, such as keeping the identity of the killer secret, etc.
As I mentioned before, the conclusion of this film leaves the story open-ended but rather than feeling unfinished, it simply makes me want to see it continue. I don’t know if Rodriguez has plans to adapt this into something longer, or continue the story with another short, but I very much hope she does. At sixteen minutes, we’ve only scratched the surface of this world and the twisted characters in it, and when the credits rolled, all I could think was “I want to see what happens next”.