Hendrik Faller’s first feature film, Mountain Fever, is an official selection of Horror Channel’s Frightfest in London and will have its world premiere at the festival at the end of August, 2017.
The film is described as an “ice-cold survivalist thriller,” and the trailer suggests that it taps into home invasion and contagion sub-genres as well as the survivalist narrative.
Baskin is a 2015 Turkish horror film directed by Can Evrenol. It centers on a group of police officers, including a young and naive officer named Arda (Görkem Kasal), as they respond to a late-night call and inadvertently wander into Hell. The men stumble into a place and time “where realms unite,” and they are doomed to be punished for their sins in life in a twisting tale that denies the viewer any semblance of reality to which they can cling as the horrors mount.
Baskin spins an intentionally disorienting narrative as perspective jumps from character to character, and dreams within dreams layer upon one another as the film moves toward its climax.
The Disappointments Room has all the ingredients of a good horror film, which is perhaps part of the problem. The film seems content to fill in the colors of lines that have already been well drawn. It has no imagination, adds nothing new, and simply plods through the motions.
Married couple Dana (Kate Beckinsale) and David (Mel Raido), along with their young son Lucas (Duncan Joiner), move to an isolated old house in the country. Not surprisingly, we soon discover two things: 1. Dana and David have recently experienced a traumatic event, and Dana is not dealing with it very well; 2. The house they are moving to has its own traumatic past, one that soon makes its uncanny appearance to the more vulnerable Dana. She starts seeing things and soon the line between hallucination (or supernatural occurrence) and reality starts wavering.
November 9, 2016. Hillary Clinton concedes the presidential election to a “pussy-grabber” who spent his campaign sending tweets like, “If Hillary Clinton can’t satisfy her husband what makes her think she can satisfy America?” Addressing “all the little girls watching,” Clinton implores, “never doubt that you are valuable and powerful and deserving of every chance and opportunity in the world to pursue and achieve your own dreams.”[i] The penultimate episode of American Horror Story: Roanoke premieres less than twelve hours later. “Chapter 9” opens with a trio of college-age bloggers looking for the house where My Roanoke Nightmare (the show-within-a-show constituting the first five episodes of AHS ‘s sixth season) was filmed. Sophie (Taissa Farmiga) wonders aloud, “How many likes do you think we’ll get on Instagram when we post footage of the house at the peak of the blood moon? We are gonna blow up the Internet, right?” The exchange that follows is eerily prescient:
Horror films are important not least because they so often dramatize fundamental philosophical questions. I just watched an extremely interesting (and definitely underrated) horror film, Adam Massey’s Man Vs. (2015). I did so at the same time that I was reading an essay by Canadian philosopher Karen Houle about the importance of the language we use when talking about the natural world.[i] At one point in her essay, Houle quotes from Martin Heidegger, a quote that struck me as providing a great lens through which to watch Man Vs.
taking horror seriously so you don't have to
