The Horror List Discussion and Suggestions (Genre Project)

[The Curious Sofa]

And sharks can’t floss. That’s silly.

You have me there.

[brundlefly]

It's not the questioning, it's the too-easy conclusions. All of the above is rendered incoherent by the fact that the children have killed all the locals on the island well before they get to a couple of foreign tourists.

Not to drag this out (and late, sorry), especially as neither of us are particularly invested in this movie, but I think there’s some conflation of point and peeve here. I wasn’t drawing any cause/effect relationship; just laying out examples of behavior I found less than sympathetic and thinking about background elements that may be marginal parts of this. I don’t think the movie winds up any serious treatise on anything, but am less cynical about including those elements. “Adults are messing up the world!” and “Tourists! Aargh!” are fine, vague points of expressive frustration to toss into fantasy violence.

So what part does their being tourists, or pale, or rude, or ignorant play in the movie's conceit? Nothing that I can see. The children attack them the same as they do their own family members, the police, and presumably everyone else in Spain. Adults are targeted indiscriminately, so what kind of adults the tourists end up being is rendered meaningless.

What kind of adults the main couple reveal themselves to be may not matter to their (terrestrial) fate, but it’s not irrelevant. First, we have to spend the bulk of the run time with them, something I came to resent quickly. But more importantly, it’s not a movie called Which Adults are These Kids Killing? Exactly zero other adults on the island, according to Titular Line Daddy (whose final scene is heartbreaking), raised a hand either in self-defense or to defend other adults. Because of course they wouldn’t. But what has two thumbs and a moustache and ultimately proves willing to wordlessly machine gun down a plaza of pre-teens? That guy.

[Mr Sausage]

Exactly zero other adults on the island, according to Titular Line Daddy (whose final scene is heartbreaking), raised a hand either in self-defense or to defend other adults. Because of course they wouldn’t. But what has two thumbs and a moustache and ultimately proves willing to wordlessly machine gun down a plaza of pre-teens? That guy.

Because for the adults on the island, those were their kids. Whereas the male tourist goes all Rambo to make it back to his kids. So, tribalism!

[thirtyframesasecond]

Talk To Me (2022) - this Australian film appeared in a few top tens of 2023. The Philippou brothers started out making horror comedy shorts on Youtube and both worked on Jennifer Kent's 'The Bababook' - this is their debut feature. A group of Aussie teens communicate with the dead and naturally, it does not go well! One of the characters has a past family tragedy, which then has serious consequences. There are some very odd and sad scenes and that balance of comedy and poignancy mixes really well. It's A24's most successful horror and has very good reviews for a film of this genre - should be on Netflix (or is in the UK at least).

[domino harvey]

PBS released a video essay on the “digital folklore” of the Backrooms

[therewillbeblus]

Does the upcoming Sandpiper Pictures Lord of Illusions contain both cuts of the film? I'm seeing conflicting reports on BR.com vs. retailers about the runtime included, and wondering if there's a superior release out there

[domino harvey]

I’d track down the exhaustive Scream Factory or Umbrella sets regardless for both cuts AND all the extras (which I believe are shared between the releases), because those won’t be on there regardless of the cut included

[thirtyframesasecond]

Haunt (2019) is written and directed by the two guys who wrote A Quiet Place, and was a strong and effective horror film. A group of teens go to a haunted house attraction, and well, it doesn't turn out to as wholesome as they expect. Best not to watch it like I did very late at night.

[jazzo]

I also thought this was pretty great, and ten times the movie that the Quiet Places were. Haunt is edgy in the same way You’re Next or The Strangers are, yet also approachable and oddly warm, as it constantly upends expectations.

Its biggest asset, to me, was how there wasn’t a single asshole in the group of friends. Even the heavyset goofball - a trope horror movies all but demand you laugh at and get annoyed by until he’s executed - was someone you root for.

Despite a bit of a stumble in the last minute or so, this was a smartly done, modest little horror picture, perfect for the Halloween season.

[Finch]

I watched Caveat, an Irish film from 2020, as I was intrigued by stills I'd seen and Damian McCarthy just released his follow-up Oddity which after my experience with Caveat I'm going to blind buy when the Shudder BD lands in October. The pre-credits sequence is already plenty unnerving as the movie introduces you to on-and-off catatonic Olga wandering through her home, holding what has got to be the scariest looking rabbit toy in front of her, and it acts like a tracking device, hitting the drums when it detects someone or something near. The rest of the film excels in this unnerving mood and slowly escalating suspense with the presence of something hinted at in dead spaces and long takes holding on rooms or corners covered in darkness. Particularly creepy is the use of shifting inanimate objects

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and presumed dead bodies: a major late-film sequence has Isaac trying to saw his way out of the basement wall he is trapped in with Olga's mother which will stay with me for a long time.

The film is perhaps a bit too long even at 88 minutes and some character motivations didn't feel plausible but Caveat is a very promising debut. I'm excited for Oddity.

[colinr0380]

Over a decade after writing up Nacho Cerdá's famous trilogy of short films from the 1990s, I finally sat down to watch his 2006 feature, The Abandoned. Which has a number of really interesting and unique takes on the standard ghost story tale, even if I am not sure that it entirely works as a whole piece. After an opening in which a truck is driven at speed until it comes to a stop in front of a Russian farmer's house and we find out it contains a dead woman with two babies next to her, we move into the main action of a woman who was adopted forty years previously visiting Russia for the first time after some information about her family home has been unearthed by an investigator she hired. After being given the details of the abandoned property she is driven to the house by a local in an ominous Dracula-style trip deep into the forest (and across the only bridge connecting the house to the outside world. Uh-oh!) before the driver both disappears and the truck suddenly turns into a dilapidated one that looks as if it has not worked in decades. Then she happens across a mysterious man who also lays claim to the house and is around the same age as her (no prizes for guessing who he turns out to be!), and both of them experience a series of ominous ghostly events involving both visions explaining what happened in the past, as well as being terrorised by zombie dopplegangers of themselves that appear to be foretelling how they will meet their dooms. It all appears to be about the house wanting to be home to a full family again, and that involves those who 'escaped' from the home inexorably being dragged back to fulfil their destinies, even if it takes decades to do so! (Making me think that this would work well in a double bill with the more recent Skinamarink)

Arguably one of the problems with the film is that the actual plot itself is very straightforward with few surprises for anyone who has ever seen any other supernatural film before. It is handled well by the actors but it even becomes rather anti-dramatic since rather than playing its cards close to its chest, we immediately see our two main characters confronted by their zombie dopplegangers (with the woman pushing the man, who of course turns out to be her long lost brother, into shooting his doppleganger, which of course results in him receiving the bullet wound instead. Because it is impossible to fight off a fundamental part of yourself without personally taking damage as a consequence), and so become aware within the first half hour of the film that these characters are doomed to die in the manner of their dopplegangers (the woman is soaking wet and implied to have drowned; the man has been torn to shreds by a wild beast). The next hour of the film is less about recognising that fact, because it is obvious to the characters as to what is going on, but about the futility of trying to escape from the situation. The screenwriter talks in his interview about how the film is going in circles and that is the main theme of the film, but unfortunately that approach does not really serve to generate any kind of narrative suspense as the characters have nowhere to run to, which means whether they barricade themselves in a room (which inevitably is no sort of defence at all in a supernatural film!) or try to commandeer the truck to drive back to civilisation (but only end up back where they began, at the house), it is kind of just busy work before the inevitably foretold doom arrives for both of them.

But there are a few interesting moments here that made the film worthwhile: I did love that the circularity does a Triangle-style thing of breaking out of the house in the final section to show that the whole initial section of arriving in Russia and meeting with the investigator is part of the 'houses' plan too! (And that provides both the explanation for the moment of feeling a 'passing spirit' on the steps walking up to the investigator's office that the woman has, when we find out it was herself in another plain of existence passing by the other way. Weirdly a very similar sequence turns up in the Silent Hill film from the same year, so perhaps there was something in the air in 2006 to do with parallel dimensions!). There is also a really great sequence near to the end of the 'barricading inside the destroyed room of the dilapidated hourse' section going into the final act of the film where our two main characters have a quiet moment together nervous of what is to come before the supernatural events start in earnest, which takes the form of the entire room reversing and 'undestroying' itself around them in an act of reverse-domestic violence (albeit violence done to the location rather than to any visible character) until the past has reasserted itself and the room looks pristine and as if a family lives there again, before whatever happened to destroy that facade of a normal home occurred.

And there is a really unorthodox coda to the film where instead of coming to an understanding of the supernatural, whether you join the ranks of the undead or not, in this film (major spoilers):

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The action is bookened with the woman, after having a voiceover about never being able to escape your past, because your past is not through with you, having an argument over the phone with her teenage daughter back in the US about her daughter's behaviour and that as a mother she simply 'has to do this' in terms of travelling to Russia to finally get answers about her past. Which is such a common set up that I thought little of it until we get to the other end of the film after the woman has failed to escape her fate and driven that working/non-working truck off of the only bridge to the outside world and has drowned in the river as presaged by her doppleganger. We then suddenly over a wide shot of the woods get a voiceover from the never previously heard before daughter (we did not even hear her side of the conversation in that early scene, just the mother reacting to her) who says that her mother never returned from her trip to Russia, and she never went looking for her either, because some things are better left unexplored.

That is such a strange ending to the film that I found it fascinating to think about. I wondered if it is a film about the contrast between the generations in some ways, where the older generation are stuck looking for answers to explain why they were abandoned by their parents, and have been trapped without any resolution to that trauma that has come to define them and keeps them from moving on and living their lives to the fullest. Because they will always be returning to that family home, if only one that existed purely in the mind's eye (or as a shared delusion with your similarly stunted in trauma long-lost brother. Indeed the fates of the two main characters are quite telling, with the sexualised matriarch coming to lead the man to his doom; whilst the abusive patriarch is the figure of menace for the woman). So the woman, in search of answers, neglects and disappears from her own daughter's life by, willingly, going missing in another country. But as a member of the younger generation, born and raised in the US, this daughter is much more pragmatic about the situation than the woman was about hers, almost callously so as she talks in that voiceover about searching for answers to the disappearance, and mysteries of the past in general, only being something that will inevitably bring you grief in getting them, whatever they may turn out to be.

I am not entirely sure that this works as a realistic reaction to the disappearance of a family member, to say the least(!), but does seem to as a psychological twist to a film about a character who has been entirely dominated by their abandonment as a baby, and showing that whilst she herself was doomed for her entire life by those questions hanging over her head, in some ways she left a legacy behind of a child who didn't have that trauma hanging over them. The woman never left that house, but her daughter is wise enough to never even investigate a family matter that she has no particularly pressing ties to.

That is the aspect that I think links up the most with Cerdá's previous short films. Something like The Awakening is very similar to the 'anti-dramatic' nature of The Abandoned because it has that same sense of futility about it of someone seeing their own death from a remove, as something inescapable. And Genesis ties in with the Abandoned both on a visual level (the image of a naked woman guiding a man to his, willing, death) and thematic one (the notions of one 'corrupted by the world' person sacrificing themselves entirely, in order that another person gets the opportunity to enter the world as someone guilelessly free of the burden of the past). I think that I had as much fun thinking about how The Abandoned tied in with the ideas from the earlier films as I did watching the film as its own thing!

So, I do not think it is up there with The Haunting, The Innocents, Carnival of Souls or even The Others in terms of ghost films, but certainly worth a watch for some of the ideas in there and works well seen together with the director's previous work too. Sadly it appears from the interviews on the DVD that this may remain the only feature that Cerdá will direct, as he has moved to running a cinema now. Similarly his co-writer Karim Hussain was also a director at the same time in the early to mid-2000s, but appears to have given up on writer-director Auteurial ambitions (he apparently has some sort of issues with the imdb message boards for some of the reviews left about his films, since he brings it up umprompted during his interview!) and has instead become a Cinematographer, notably having been the DP on all of Brandon Cronenberg's features.

EDIT: Having made my way through the features on the disc now both of the alternate endings would have worked really well in addition, rather than as alternatives to, the one in the film. I do love the voiceover from the unseen daughter as described above, but...

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in one of the alternate endings we also get the woman post truck plunging into the river after getting a vision of her daughter suddenly appear back on the bridge as a ghost and get led back to the inescapable house where her parents and brother are waiting outside, before she lets go of her daughter's hand and joins the group, looking back from the house to the daughter. Then each go inside one by one, with the woman the last to go, looking back one last time as she shuts the door to the house. (It's weirdly so reminiscent of the ending of Tarkovsky's Solaris that I was left wondering if there was a conscious allusion going on to it. Ditto with one of the other deleted scenes of the outdoor fire that also involves a burning photograph of a loved one)

And then in the other alternate ending we go in a full filmic circle to the opening of the film where the dying mother had driven the truck to the neighbours with her babies before the farmer found the woman dead at the wheel, to the same truck suddenly appearing at the neighbours farm again. The farmer goes up and on opening the door this time instead of the dead woman and her babies all the water from the river flows out revealing the dead woman still at the wheel.

Both of those are great endings, and add a lot to a film that ends rather frustratingly abruptly without them. You could even move on from this to including the voiceover from the daughter in America that is in the final film as well, to cap things off even more. All three one after the other would potentially have turned this film from interesting if rather generic into a great ghost movie.

[colinr0380]

Part 3 of "The Oldest View" is up

Apart from generally being impressed by the skill on display here (EDIT: and that we get more lovingly detailed close up shots of tactile carpets after his most famous Backrooms video! I'm kind of hoping that aspect may become Kane Parsons' key aesthetic motif!), the more specific question I have Is that I think there may be something behind the tree near its base at the 2 minute 50 second mark. Something that looks suspiciously like the bunch of flowers being made at the end of the first video in the series, and which may have been something that was entirely missed by Wyatt approaching the tree from that angle?

EDIT: By the way, whist this video is a CG creation it was apparently based on a real mall! Which was wiped from the face of the earth (i.e demolished) last year. Which I guess explains the impressive sense of the geography of that entire location being extremely well thought through (I particularly love that we go down one corridor during the 'first exploration' of the area that seems to enticingly briefly show a pathway off of it and then at the mid-point just after the first chase sequence we see Wyatt darting across the corridor from one shop and into the pathway! That's a great set up and pay off moment that isn't too heavy handed and makes the area feel more 'real'), and suggests that the "Dead Malls"-vibe from the end of the previous video was an intentional one!

Along with a walking tour of the site of the Valley View mall for The Oldest View series, the latest Kane Parsons video is up, which is another Backrooms entry. I like the drawing out of the 'pre-fall into the Backrooms' moment this time around (along with the Arnie poster jumpscare!). And the characteristic 'lovingly detailed close up of carpeting' shot occurs first at the 11:20 mark in the video! I also love how he is playing with ambient music cues still, and getting more live action actors involved in the antics.

[thirtyframesasecond]

I also thought this was pretty great, and ten times the movie that the Quiet Places were. Haunt is edgy in the same way You’re Next or The Strangers are, yet also approachable and oddly warm, as it constantly upends expectations.

Its biggest asset, to me, was how there wasn’t a single asshole in the group of friends. Even the heavyset goofball - a trope horror movies all but demand you laugh at and get annoyed by until he’s executed - was someone you root for.

Despite a bit of a stumble in the last minute or so, this was a smartly done, modest little horror picture, perfect for the Halloween season.

Beck and Woods' next film is Heretic, which looks like it's going to have a real curveball performance from Hugh Grant, continuing his late career renaissance.

[colinr0380]

The EFAP guys are going through the whole Nightmare on Elm Street series throughout October and have reached Part 2 (which is worth watching just to get their reaction to the bird scene and the gym teacher moment!). They don't pick up on it in their reaction video, but watching I was struck by the idea that a reason why that particular film doesn't work (amongst many other reasons) is that it is appropriating ideas from films outside of its franchise - the whole idea of the young man being possessed into killing simply because of the malign influence of the house in which he is living suggests Amityville 2: The Possession was an influence (or maybe The Beast Within); and of course the ridiculous pool party scene suggests that they were trying to do something akin to the Carrie prom scene, only to end up with something more reminiscent of Eegah!

To my mind, it is also deeply suspicious that both the room tidying scene in Freddy's Revenge and the 'trapped in your bedroom doing terrible dance moves' fever dream movie In Search of the Wow Wow Wibble Woggle Wazzie Woodle Woo! occur in the same year!

[Matt]

Somehow I have lived my life without ever seeing Hammer’s Countess Dracula, but I watched it tonight after rewatching The Mummy (1959), a perennial favorite. I was surprised by how effective Ingrid Pitt’s physical performance was as both the young and old countess—sometimes in the very same scene. I thought she was only famous for her bosom!

I am really enjoying Hammer films this Halloween season, they seem to be hitting just the right spot. Nobody does blood like Hammer. I watched all the Amicus anthologies last year, and those are equally as enjoyable but in a different, more macabre way, curses and rotting skulls and such.

It will be a great day if/when the classic Hammer films start getting issued on UHD.

[colinr0380]

Somehow I have lived my life without ever seeing Hammer’s Countess Dracula, but I watched it tonight after rewatching The Mummy (1959), a perennial favorite. I was surprised by how effective Ingrid Pitt’s physical performance was as both the young and old countess—sometimes in the very same scene. I thought she was only famous for her bosom!

Here is Ingrid Pitt being interviewed in 1995 on the Mondo Rosso show, which focuses on her Hammer films, and inevitably an anecdote about her bosom and a fake moustache!

After this show, she had quite a resurgence in the UK horror fandom scene, as the horror magazine Shivers made her into a monthly contributor for quite a few years. Most of her columns focused on her convention appearances and efforts to promote the return of Hammer horror with the fabled film "Dracula, Who?" that she mentions in that linked interview, which of course never came to pass, with Hammer not really returning to film production until 2009's Wake Wood, released a year before Pitt's passing.

[colinr0380]

Local58 returned for Halloween post-digital transition with two shorts, the first of which has been hiding away unlisted for two years!

(and wonderfully the 2022 Halloween special CLOSE, which feels like a modern riposte to Georges Méliès A Trip To The Moon, is finally made public again)

[Mr Sausage]

Caddo Lake (Logan George & Celine Held, 2024)

This was excellent. Big thanks to John Cope for the rec, and for advising to go in blind. The strongest element is actually the drama, superbly written and acted, which the non-dramatic parts serve to amplify. A story like this could’ve easily become turgid or incoherent, taken over by exposition and overdetermined in its visuals. But it never does; it remains clear at all times, never difficult to follow and never needing to belabour its details (like the alligator, which the movie explains perfectly in a single image without needing to make the connection for you). I’m still impressed at its narrative and dramatic economy. As good an example of this kind of movie as you could hope to find.


The Black Phone (Scott Derrickson, 2021)

Aside from Doctor Strange, one of the best Marvels, and Inferno, one of the best of the bad Hellraisers, I’m not familiar with Derrickson’s work. I didn’t mind the movie, especially everything before the central kidnapping, which often had an authenticity and dramatic heft that really worked, especially the relationship between the brother and sister. But there was a lot here that was trite, including its theme, which reduced the whole ugly kidnapping and torture plot to a lesson to stand up for yourself, like somehow if the boy was just more confident he’d...what, not be a victim of a serial killer? The movie, already shaky, collapsed in those last triumphant moments. That said, best use of Pink Floyd in a movie I’ve ever heard.


Die Alone (Lowell Dean, 2024)

A low budget DTV zombie/ecological/pandemic apocalypse movie that punches above its weight. The planet, “sick of our shit” as a character says, attempts to purge us by turning us into plant zombie things. It sounds stupid, but the practical make up effects are very good, and it adds novelty in that most of the regular zombie rules, like head shot kills, no longer apply. The story proper involves a man with amnesia who’s looking for his girlfriend in the overgrown apocalyptic landscape, his amnesia being the device that allows the filmmakers to slowly reveal the new rules of this world we’re in. He meets an older survivalist, Carrie-Anne Moss, and they help each other out as best they can. A lot more about sadness and loneliness than the event at hand, with a few narrative tricks borrowed from Memento. Because of the talent involved, it works much better than it ought to, and it builds to a moving finale.


Happy Death Day (Christopher Landon, 2017)

I think I’ve liked all the time loop movies I’ve seen. Is there a bad one? Let’s see, we’ve got Groundhog Day, Triangle, Edge of Tomorrow, The Repeaters, The Final Girls, The Girl Who Leapt Through Time, Run, Lola, Run, Source Code, I Am a Ghost, Boss Level, (and let me add the wonderful video game Deathloop)—all entertaining to various degrees. Now here’s Happy Death Day, among the best of the bunch. It’s not completely novel: The Final Girls had the cast trapped in an 80s slasher modelled on Friday the 13th that restarts every 90 minutes. But Happy Death Day has a minimum of sentimentality and winking self-referentiality, so it’s the better movie.


Happy Death Day 2 U (Christopher Landon, 2019)

A movie that doesn’t need and theoretically shouldn’t support a sequel somehow gets a good one. It takes the worst idea, explaining the time loop of the first movie, and turns that into an asset by using the explanation (a science doohickey) to generate a spiral of complications over top the original movie. If it’s more fun in many ways, it still falls into a sentimentality that the original avoided.


Totally Killer (Nahnatchka Khan, 2023)

Similar tone and quirky genre fuckery as Happy Death Day and Freaky, except where those two grafted a slasher onto Groundhog Day and Freaky Friday, respectively, Totally Killer does it to Back to the Future. Kiernan Shipka time travels to 1987 to stop a recently resurfaced killer on the day of his first spree. There’re some clever conceits, like the popularity of vintage clothing allowing Shipka to blend into the 80s, but otherwise the central idea is underused. Mild spoiler: time travel rules means Shipka’s knowledge of the future has to be useless, while the filmmakers avoid the pile up of paradoxes and plot complexities inherent to their concept by mostly ignoring them. The screenplay is low effort. The jokes oscillate between ‘weren’t the 80s so problematic and unsafe!’ and ‘isn’t Gen Z so coddled and sensitive!’. The movie is uncommitted to any political statements beyond the cheap jokes, tho’. It raises the spectre of casual racism with a racist caricature of a native american being the local high school logo (cue a knowing eyeroll from Shipka) while at the same time having a notably inclusive cast who experience no racism in their small town, not even for their pervasive interracial couplings. Despite gesturing at the idea that the 80s were rough and unsafe, the movie can’t help sanitizing and smoothing the decade until it resembles current progressive ideals, just with more smoking and hairspray. The culture shock aspect boils down to people being more trusting (because the past is always naive, I guess) and more like caricatures. So we’re not actually in the 80s, but a pastiche of 80s movie conventions as remembered by someone who saw the Breakfast Club and VH1’s I Love the 80s on tv a long time ago, and who’d rather not discomfort anyone. That’s the aim of the movie, to make people feel comfortable in their assumptions and received ideas. Too bad Christopher Langdon wasn’t involved, he would’ve nailed this kind of movie.


Cuckoo (Tilman Singer, 2024)

A good example of unexceptional material succeeding through craft and passion. A mad scientist monster movie set in the alps, full of mysterious goings-on, unhelpful parents, sinister doctors, unhinged police officers, etc. The monsters are novel, I’ll give it that, but ultimately it hardly matters what they are for something like this. For me it’s all about Hunter Schafer’s performance. She’s playing a teenager again, but a much different one from her breakout role on Euforia, a more shy, inward person, lacking in confidence. Her emotional scenes, especially regarding her mother, are the highlight of the movie and turn it into something more than it outward seems.


Dark Touch (Marina de Van, 2013)

de Van’s In my Skin was a powerful horror film, but a deeply unpleasant one. I’ve been meaning to see her other work for years, but never did out of a fear that she wouldn’t be able to match her remarkable debut. On the basis of this, she hasn’t quite. The execution outperforms the material. It has many of the same strengths as de Van’s debut: an intensity that can be unbearable, a fearlessness in dealing with uncomfortable subject matter, here abuse and trauma in children, and a trust in the audience that allows her to use elision and suggestion just where other filmmakers would spell things out. On the other hand, there is a triteness to some of the narrative decisions in the last 45 minutes that I wasn’t fond of, and the plot does occasionally require people to gaslight each other and themselves to a degree that strains credulity. And yet it’s a movie of such cold unhappiness, and such fearlessness, that I had to admire it. And the young actress at the centre gives a remarkable performance. An impressive but imperfect movie.


MaXXXine (Ti West, 2024)

Really a vibe movie. It’s all about the texture of the 80s, the atmosphere of grimy exploitation, urban decay, materialist obsession, Hollywood perversion, and moralist hysteria. A stark contrast to Totally Killer’s sanitized vision of the decade. If X was 16mm and Pearl flickering silents, the texture here is VHS. I think I liked it more than X, because it’s doing a bit more than a straightfoward genre exercise, but less than Pearl, which had an emotional weight the other two don’t. I suppose what I liked most in the third is that Maxine stands for everything horror films punish, and lets her rise above those punishments to assert herself.

[swo17]

I think I’ve liked all the time loop movies I’ve seen.

You should check out Junta Yamaguchi's two films, which are both about time loops that only last two minutes

[Mr Sausage]

I wanted to see his most recent one at Fantasia last year, but the timing didn’t work. Hope to get around to it and its predecessor soon. Do they have decent releases?

[swo17]

They both have Blu-ray releases from Third Window

[TechnicolorAcid]

I wanted to see his most recent one at Fantasia last year, but the timing didn’t work. Hope to get around to it and its predecessor soon. Do they have decent releases?

Beyond the Infinite Two Minutes has a Third Window Blu-Ray while River has a pretty good release from Terror Vision.

[domino harvey]

Fun fact for today: the model in the famous key art for I Spit on Your Grave is, somehow, Demi Moore

[colinr0380]

Another fascinating find from the Night Mind channel is the weird mix of real and CGI on display in Briscoe Park, which feels like the ending of The Blair Witch Project turned into an ambient mood piece.