Director Adrienne Lovette came to my attention through the release of her 2016 short horror/mystery film Hidden Daylight. A film that almost plays as a companion piece to The Dark Room, as it not only has some of the same cast, but most notably actor John Rice plays a psychic in both. The characters are very different, but Lovette is now carving out a name for herself in the horror genre as a director to definitely keep an eye on. Both films seem very similar in pacing and style and it’s easy to identify it was directed by the same person, which I always believe is a good thing.
She’s so authoritative. So confident! The more you work with Batgirl, the more amazing she seems. How does she do it? Local Boogeyman disintegrated perfectly, but never reappeared. Where’s he gone? Into space… a stream of atoms… It’d be funny if life weren’t so sacred.
Set in both stunning and imposing locations with tenacious female leads, Jack Clayton’s The Innocents (1961) and Herk Harvey’s Carnival of Souls (1962) offer an intimate and highly psychological examination of the female mind whilst ruminating heavily and hauntingly on the age-old themes of sex and death.
“A story so unusual it will burn itself into your mind.”
Producer Jason Blum was quoted as saying, “There are not a lot of female directors period, and even less who are inclined to do horror”. It wasn’t long before Blum had to backtrack on his statement when it was pointed out to him how many female directors there were in horror, all of which were eligible to create imaginative horror features. Recently added to that group is Rose Glass, who has set her first feature, Saint Maud, in the traditionally male-dominated horror genre and was named the winner of the IWC Schaffhausen Filmmaker Bursary Award.
“Never waste your pain.”
Luz is a cryptic, supernatural chiller and the directorial debut from writer-director Tilman Singer. It hearkens back to the horror style of the 1980s, offering grainy 16mm film, a creepy mood and an unsettling, synth-heavy score. It is the kind of film that will be enjoyed by fans of David Lynch or Peter Strickland, but Singer creates his own brand of surreal eccentricity. It’s challenging to describe Luz’s narrative because it’s far from straightforward. The film begins with a long-fixed take – a Chilean-born taxi driver called Luz, staggers into a German police station.
“My girlfriend has a very special gift.”
A sleeper hit at festivals worldwide, Luz is an astounding debut feature from director Tilman Singer, all the more so considering it was shot entirely on 16mm as a film school graduation project.
A dazed, young cab driver drags herself into a rundown police station late one night. Across town, a psychiatrist is striking up a strange conversation with a lady in a bar, when he is paged by the police station to come in to counsel the cab driver. When he arrives, the cab driver begins an eerie and surreal confession that endangers all who cross her path.
“My girlfriend has a very special gift.”
Indicator are pleased to finally reveal their 29 June releases; a heady mix of werewolves, Nazis, royals and human body parts. First on offer is the UK Blu-ray premiere of The Beast Must Die (1974). Next is a deluxe two-disc edition of Guy Hamilton’s Force 10 from Navarone (1978) featuring UK Blu-ray premieres of alternative versions of the film, a set of replica production stills, and an 80-page book. Last, but by no means least, Indicator proudly present the world Blu-ray premiere of Lindsay Anderson’s Britannia Hospital (1982).
“The odds against them were 10,000 to 1…but what the Hell!”
Donnie Darko has been firmly entrenched in my favourite top ten films since it first hit cinema screens in 2001. I re-watch it every year or two, and it never fails to engage. If you’re expecting me to explain the movie, I’m afraid that I’m just as unlikely to do so as writer/director Richard Kelly. Besides, you know you don’t really want me to, because if I did explain what every twist in the film means and how it all fits together, the movie wouldn’t intrigue you half as much. No-one really wants to see inside the workings of a cuckoo clock, they just want to see the strange little bird pop out.
“Dark. Darker. Darko.”
Rear Window was the movie that introduced the young Ren to the perverse genius of Alfred Hitchcock. I remember as a child, being irresistibly drawn into the voyeuristic position of his protagonist and fascinated by the goings-on in the windows he was observing. Hitchcock claimed not to care about the subject, morality or message in his movies, but only about the manner in which his stories were told, but his attraction to the psychological was one of his most obvious storytelling strengths.
“Through his rear window and the eye of his powerful camera he watched a great city tell on itself, expose its cheating ways…and murder!”
Influenced by the golden era of slasher films, Eric Liberacki’s The Lurker is set for pre-orders this March and will debut on April 14th 2020 – on both DVD and Digital platforms from Indican Pictures.
The Lurker follows several high-schoolers as they prepare their final performance of Romeo and Juliet, unaware that a killer lurks in the shadows… As students and faculty die at the hands of a savage killer, it’s a race against time for the cast to find the killer and escape with their lives…
“It’s going to be a deathly performance.”
Waxwork Records is thrilled to present Jacob’s Ladder original motion picture score by Maurice Jarre. Jacob’s Ladder is a 1990 psychological horror movie starring Tim Robbins, Elizabeth Peña, and Danny Aiello.
“The most frightening thing about Jacob Singer’s nightmare is that he isn’t dreaming.”
Waxwork Records is proud to announce the new double LP soundtrack release of My Bloody Valentine (1981). Praised by director Quentin Tarantino as his favorite slasher movie of all time!