On this episode of Filmcraziest Interviews I am joined by Australian filmmaker Paul Komadina to discuss his new short film Abduction, which recently played as part of the North Bend Film Festival at Nightstream. The short film stars Alexandra Nell as Mathilda, a woman who after waking up in the middle of a field with no memory faces a streak of judgment and cruelty. The film is directed by Paul Komadina and written by Frances Elliott.
Welcome to another episode of Filmcraziest Interviews and for this episode I chatted with Terence Krey (writer, director and producer) and Christine Nyland (writer and star, pictured in the featured image) for their new film An Unquiet Grave, which had its World Premiere on Oct. 11 at the Nightstream virtual film festival. The film stars Jacob A. Ware as Jamie, a widow one year removed from the death of his wife. One night, he enlists the help of his sister-in-law Ava (Christine Nyland) to help him bring her back from the dead. It’s a two-actor chamber horror directed by Terence Krey, and written by Krey and Nyland.
On this episode, I chat with AFI alum writer and director Austin Rourke for his short film A Strange Calm, which had its Canadian Premiere at the Fantasia Film Festival last month (and this is when we conducted this interview), and played at the Nightstream virtual film festival this past weekend, as a part of [...]
With the first edition of the Nightstream Virtual Film Festival winding down, many of the events are still available on-demand until tomorrow, Oct. 14, and the same can be said for many of the festival’s on-demand titles, too! You can find those tickets and films still available here. I wanted to do a link round-up post for the films I was able to watch at this year’s Nightstream that are still available on demand, as well as some of the same films that are playing at Nightstream that I caught at Fantasia in August, and some of the short films that are playing at this year’s festival, as well, and the ones I’m highlighting will have played at Fantasia.
This is another tale in the “what would you do for your family?” horror cannon, which has seen some good features, even at this year’s Nightstream with Anything for Jackson and My Heart Can’t Beat Unless You Tell it To. Here, An Unquiet Grave is carried by two great performances by Jacob A. Ware and Christine Nyland, who also co-writes this film with director Terence Krey. And when I say the film's carried by these two performances, they're virtually the only ones in the film and are there in every scene. With that said, it's great that these performances are so compelling. Ware captures the grief of his character well, as does Nyland, and Nyland’s performance is the standout here as it’s unpredictable, and I would give kudos to a unique aspect of her performance but that would border on spoilers. But with what happens in the film and what results from the ritual is fascinating and creates such a cool dynamic, and makes for such an interesting concept.
If you’ve ever wanted a movie with the abrasive punk rock attitude of Green Room, or the quirky comedy of films like Napoleon Dynamite, you need to look no further than Dinner in America. Simon as a character is in-your-face, abrasive and offensive, and just everything that’s cool about punk rock. Patty is everything sweet and nice but gets bullied for not being the smartest person. She doesn’t even get bullied at school – she’s a 20-year-old who gets picked on by high schoolers because they’re on the same bus route. She totally seems like a character that could fit in that Napoleon Dynamite world, but she’s totally her own person.
Sometimes watching a film, it’s easy to forget just how much craft goes into creating it. With the super unique gorefest Frank and Zed, though, it’s also easy to appreciate the effort that writer/director Jesse Blanchard – and the whole team, really – put into this nutty puppet spectacle that took seven years to make. Two reanimated corpses – the titular Frank and Zed but known more commonly as Frankenstein and Zombie – have lived a peaceful life for the past 200 years in a castle by a nearby village. In that village, 200 years ago, they were attacked by a monster, and to save the people, the King made a pact with a demon to protect them. In exchange, when the royal bloodline ended, the villagers would have to fulfill an ancient prophecy called The Orgy of Blood. Nudging this into action are two power-hungry villagers who trick the others into attacking the castle where Frank and Zed live.
A pregnant woman named Ellie (Emma Draper) returns to her childhood home after the death of her grandparents to close the estate and sell it. There, she reunites with her estranged mother, Ivy (Julie Ormond), as we learn the long-buried secrets of this family that slowly come to surface. The aptly named Reunion combines family drama and mystery with haunted house horror, as Ellie is tormented by childhood memories throughout the film. This brings a non-linear structure as Ellie’s memories with her sister Cara (Ava Keane), and other memories, are triggered by events in the present, as the pacing feels similarly to Netflix mini-series The Haunting of Hill House.
Editor’s note: Okay, full transparency on this one, I actually caught this Anything for Jackson at Fantasia Film Festival in September for its World Premiere and I enjoyed it so much I wanted to watch it again. It was such a great surprise then as a brilliant reverse exorcism film, and I really wanted to see how it holds up on second viewing. I didn’t read my first review of the film over so I don’t know how much I repeat, but this is written from the perspective of how it plays on second viewing.
I just love films that can find a balance between moody horror and powerful family drama, and My Heart Can’t Beat Unless You Tell it To is just the latest to do this so well as it takes a look at vampirism as a disease and how it affects a family. Thomas (Owen Campbell) is the afflicted member who survives on blood. He gets this blood because of his brother Dwight (Patrick Fugit) and sister Jessie (Ingrid Sophie Schram), who spend their existence taking care of Thomas and killing homeless people or prostitutes to keep Thomas going, and they quite literally take it day by day. It is not much of an existence, but it is theirs.