Glasgow Film Festival 2023: Nightsiren

A harrowing, yet beautiful take on the patriarchy and internalised misogyny.

Synopsis: A young woman returns to her native mountain village, searching for answers about her troubled childhood, but as she tries to uncover the truth, ancient superstitions lead the villagers to accuse her of witchcraft and murder.

It is easy to take aim at the patriarchy and the men who sustain it, but perhaps more difficult to identify and probe the role that women can play in upholding the restrictive values it represents. This is what separates Nightsiren from other films exploring the idea of the ‘witch hunt’, whether in a period or modern setting. In the ‘lonely village’ of Nightsiren, men, women, young people and older people are all invested in maintaining the traditions that hold them in a state of often violent oppression.

After a jaw-dropping opening scene in which we meet Šarlota (Natalia Germani) as a child fleeing her abusive mother, there is a time jump to her returning to the village as an adult, drawn by a letter detailing an inheritance she needs to collect. Finding the village mostly unchanged, still steeped in the same rituals and constraints she tries to find solace with Mira (Eva Mores), a woman who also seems at odds with the village.

The gender politics around the upholding of those rituals are woven throughout, both within the village and the wider world. During an early scene, Mira attempts to hide Šarlota from a tradition in which water is thrown onto women, despite their requests to not partake. That custom, with an implicit relationship to ‘witch tests’ and ‘ducking’ takes on greater relevance as the villagers’ anger against the women. That women are seen to accept and in some cases even welcome that anger results in some of the film’s most uncomfortable scenes.

Arranged into multiple chapters and relying on flashbacks to fill in important details, the film is occasionally at risk of dawdling a little too much. However, what it lacks in pace it makes up for with near-celestial, shimmering scenes set in the forest and embedding meaning in the smallest moments throughout. A dance sequence, for example, serves as a moment of hope as the younger members of the village all appear to be on the same page. The moment is short-lived, showing just how tight the grip of their way of life is upon them as it signals a descent into further horror.

The photography furthers the link between the women and nature, with snakes and wolves operating as threats, protectors and everything in between. Despite the links to nature, the film allows space for the women to discuss their discomfort with the expectation of women to be maternal while also highlighting the distress and burden of pregnancy and miscarriage. Šarlota’s mother is an abusive figure and the other women in the village, too, despite it being against their best interests – this questions that biological essentialism and places it in a wider context of complicity in archaic, damaging systems. That the natural world in the film is presented as both freeing and stifling adds another level of intrigue than the conventional witchy reliance on nature narrative.

Nightsiren never wants viewers to be completely comfortable, frequently presenting challenging scenes and ideas. Despite that discomfort, the story within is a gripping one that feels bigger than the narrative mysteries it details.

4 out of 5 stars

Nightsiren played as part of the Glasgow Film Festival 2023.

Glasgow Film Festival 2023: Mister Organ

A documentary as laser-focused as its subject, drawing on themes of obsession and fear.

Synopsis: Journalist David Farrier (Tickled) is drawn into a game of cat and mouse with a mysterious individual. Delving deeper he unearths a trail of court cases, royal bloodlines and ruined lives, in this true story of psychological warfare.

David Farrier is no stranger to the weirder side of the world, whether in the notorious documentary Tickled or in various Dark Tourist adventures. As a result, you have to know that Mister Organ is about more than just a routine car clamping dispute. From a neighbourhood dispute about an antiques shop clamping cars a mysterious and sinister figure emerges – that of the titular Mister Organ. In Farrier’s own words, the nuances make this “exactly my kind of weird mess”.

The documentary is, ultimately, frustrating. Seemingly endless phone calls from Michael paint him as a tenacious, threatening, but primarily tedious figure – someone who has honed skills specifically to intimidate and bully. It is also frustrating if you are looking for answers as to how he arrived at this point. Farrier is clearly rattled by his behaviour and while this is understandable, it does feel like this somewhat stalls the investigative aspect of the documentary. Other talking heads appear, as well as Michael himself, but there is never a sense of insight into him. Part of this is down to a “hot and cold” filming process, in which Michael is sometimes on board and other times detached and evasive.

This does mean there is relatively little attention paid to the style of the documentary, playing out with very little stylistic flair. That isn’t strictly an issue for the subject matter but it can occasionally feel dry with nothing to divert the eye. At times, you are felt with the impression that this could serve better as a deep-dive podcast. One visual moment that does leave an impression, however, is of a housing area late in the film that does serve the film’s messaging as it almost shifts into a different space in an attempt to find some closure.

Outside of Organ’s repeated harassment campaigns and the human debris left in his wake, the documentary feels like it has a second layer that goes much deeper than just Michael. Using his situation as a lens for what planting a seed of fear can do and the documentary itself feeling like it taps the brakes, that sense of fear dominating the situation is palpable. Every dispute raised feels so small at the outset but as the story unfolds, the true impact of that relentless harassment becomes ever clearer. This is the real strength of the documentary and is worth the time it takes to arrive at that point.

A good documentary needs to capture the mood of its subject matter and in this sense, Mister Organ succeeds, building the trivial and almost humourous into something all-encompassing and genuinely unsettling.

3 out of 5 stars

Mister Organ will screen at the Glasgow Film Festival on March 7th and 8th. You can find out more about the screenings at the Glasgow Film Festival webpage.

Glasgow Film Festival 2023: The Artifice Girl

A rich sci-fi focused on the ethics of AI feels timely and relevant but also manages to centre an impactful, more individual narrative.

Synopsis: When an internet vigilante develops a revolutionary new computer program to combat online predators, its rapid advancement leads to serious questions of autonomy, oppression, and what it really means to be human.

Franklin Ritch introduces the characters in his film in the tensest situation imaginable, with Gareth (played by Ritch) being interrogated by Deena (Sinda Nichols) and Amos (David Girard) about images on his computer. As the pair continue to question him, he reveals a shocking truth about the alleged child abuse imagery: the girl is not real, but an AI construction that Gareth has built to trap predators. Cherry (Tatum Matthews) has assisted Gareth in gathering evidence against would-be abusers, but growing disillusionment with the police response has led to him furthering the design and working more independently. Already, there is a sense that Cherry’s development as being a surprise even to him, describing her evolution as “pushing a wheel down a hill”. That first act sets the scene for the ethical questions that frame the film as the second and third chapters use jumps in time to explore the fallout from those early decisions.

It would be easy to look at the film’s initial concept and write it off as a provocative thought experiment, but this is a far more sedate and thoughtful film than that suggests. Outside of establishing the situation, it isn’t interested in probing that vigilantism, but shifts focus to the escalating discomfort around the technology. Throughout, there is an emphasis on what humans bring to technology with discussions of consent and autonomy made all the more uncomfortable by the presence of Cherry and the way she is spoken of and to. This shifts it from potentially exploitative subject matter into a more explorative space, although, there are still references to child abuse that people may wish to avoid.

As each chapter mostly sees two or more characters confined to one room, it could easily lose a sense of cinematic spectacle. Ritch meets this challenge with a roaming camera and swift cuts, adding an energy, enforcing the tension and tapping into those heightened emotions. In quieter moments where the camera is allowed to rest on a character, it does so almost too closely, still adding that tension while also allowing the performer to take centre stage. All of this makes moments where the camera is allowed to step back and indulge in open space and more fluid, less tense movement all the more impactful.

The dialogue-heavy nature places a huge amount of pressure on the performers – again, a challenge they are able to meet. Tatum Matthews is extraordinary as Cherry, having to perform as an AI functioning as a real girl, peppering uncanny moments and movements within a performance that shifts considerably in each section. To hold her own against the ever-reliable Lance Henriksen is so impressive and their interactions lend the film a real power. David Girard’s quieter processing of the initial situation too, is memorable, his pause providing a reprieve from the otherwise wordy scenes. As a viewer, that pause with him allows you the space to pause too, collecting your own thoughts on the ethics under discussion.

This is far from an action-packed thriller – it is more insidious, more memorable than that. Clever writing neatly weaves references from the first act into the third without needing to signpost it. This is a film that makes you want to lean into the discussion, to consider your own position and that of human interaction with technology. However, the dedicated performances also allow you to become absorbed in the more personal story within that much meatier discussion.

The Artifice Girl is weighty, engrossing work, showcasing exactly what sci-fi has to offer in terms of thinking about the world around us.

4 out of 5 stars

The Artifice Girl will screen at Glasgow Film Festival 2023 on March 6th and 7th. You can find out more about the screenings at the Glasgow Film Festival webpage.

Final Girls Berlin Film Festival 2023: Midnight Shorts Block

Midnight movies are an absolute essential for a horror festival – those films that are best played to a slightly sleep-deprived and otherwise altered, but most importantly, enthusiastic audience.

Chicks

Polly (Nicole Marquez-Davis) is nervous, but excited, about attending her first sleepover. As she settles into the ultra-pink surroundings, sing-alongs and pillow fights it looks like her worries were unfounded, until dark motivations emerge from her fellow attendees. Honestly, I don’t think you can really predict where Chicks is headed at all but the film cleverly seeds visual references throughout, resulting in a cohesive feel. The bizarre tone never lets up and it is very cool to see something so unashamedly girly with that underlying darkness.

Meat Friend

Another of the Soho Horror Film Festival shorts I’d been lucky enough to see before, Meat Friend, as you can probably tell from the image above, is a difficult one to describe! Izzy Lee’s short is full of perfectly delivered one-liners from the titular Meat Friend. Just the perfect kind of film to watch with an audience to really appreciate every strange moment.

Big Weekend Plans

Tesha Kondrat takes a relatively simple concept about a woman deciding to end her life and takes it in a deadpan direction as her plans continue to go awry. At just over 5 minutes long the short is an ideal length to explore that idea, not needing to expand or fill the time, meaning every beat and scenario is pitched just right.

Maybe You Should Be Careful

Megan Robinson’s film features a break from the traditional narrative of a woman as a victim and swaps it so the male partner is preoccupied with a recent series of male disappearances in the area. Despite Alistair’s (Dan Beirne) concerns, June (Kelly McNamee) is keen to put a spark back into their dimming sex life, resulting in a series of misunderstandings. Both performers have excellent chemistry which makes this mainly dialogue-focused short work as they find themselves increasingly at odds. Those exchanges excellently weave doubt in the viewer, culminating in a great punchline.

Wild Bitch

Rebekka Johnson and Kate Nash take on triple duties in this hilarious short, writing, directing and performing. Johnson plays Barb – a woman who tightly wound TV news journalist Melanie (Nash) is sent to interview as part of a story about the impact of new development on the natural surroundings. Their interactions are great fun and paying attention to the background is so rewarding with a few excellently placed sight gags. Despite the laughs, there are also serious points to be made here in terms of the treatment of women and nature.

The Promotion

Rapid-fire dialogue underpins this witty, ever-escalating tale of two office workers desperate to secure a promotion. The barbs they throw at one another continue to grow in absurdity as they move around the cramped office space. At less than 5 minutes long, this is punchy and again, delivers a message along with sharp humour.

The Midnight shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.

Final Girls Berlin Film Festival 2023: Young n Deadly Shorts Block

The horror genre is no stranger to sinister coming-of-age tales and this group of short films uses excellent performances from young performers to capture the fear that comes with growing up as well as the ability for younger people to be just as dangerous as their adult counterparts.

Amygdala

Anna (Eva Samioti) is having a birthday party and her younger sister Melina (Panayiota Yiagli) is desperate to be involved. This atmospheric short hinges on Yiagli’s stoic, forceful performance as she attempts to retain closeness to her sister at any cost. The shifts between that gentle, coming-of-age story shot in soft-focus around Anna’s relationship with Maria (Donna Petropoulou) to the darker elements are accomplished with great skill, never quite letting you relax for the duration.

Spell On You

The sudden appearance of a wart on Salomé’s nose signifies a break from innocence, heralded by her father’s extreme reaction and immediate exclusion from childhood games. As she struggles with the continued appearance of skin lesions, she begins to notice other strange things within the house that no one is talking about. Slow pushes on near-static scenes allow a kind of quiet to wash over the film, echoing the secrets playing out within the household. The sedate pacing and rich colours make this an easy short to be invested in.

Lalanna’s Song

There is a real stylistic flair to Lalanna’s Song, especially as it switches from the relative mundanity of the character’s experiences dealing with daily prejudice and sexism into something otherworldly. Shoby (Parvathy Thiruvothu) and Miriam (Rima Kallingal) are mothers, trying to balance their own lives with that of their children. The pair share a fluid chemistry and their dialogue is free and easy, realised in a way not always captured on film. Shooting the same event from different perspectives and snap edits switching up images all contribute to a constantly shifting and relatively slippery short that is never short of intrigue.

Hiama

Hiama follows Vani (Elsie Polosovai) in her experience at a prestigious private school. Her race and that her mother is a cleaner at the school mark her as an ‘other’ resulting in abusive behaviour from her peers. Using the familiar trope of menstruation as signalling a change in a young person’s life, this film has such a powerful energy. With a focus on Polosovai’s face and movement, the intensity just grows and grows into something truly powerful.

The Young n Deadly shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.

Final Girls Berlin Film Festival 2023: Queer Horror Shorts Block

Final Girls Berlin has always dedicated a space to queer horror, platforming films that range between queer fears and a celebration of LGBT+ figures in front of and behind the camera. 2023’s edition was no different, with films exploring identity, fear and coming to terms with both.

Plastic Touch

Everything about this film is furthered by the complete commitment to the aesthetic. From the performance style and set dressing, the viewer is immersed in the world of two sex dolls who meet and imagine another life together. In embracing the stilted movements and exaggerated body parts this is instantly absorbing. It is to the film’s credit that it is able to be powerfully moving despite the stylistic restrictions placed upon it as the relationship is explored.

Apostasy

Identity and religion are competing within Tula -a young girl struggling to come to terms with her own sexuality and burgeoning feelings. Her internalised struggle comes to the fore through the inventive use of religious imagery that leaps off the screen. Maddison Dell’Aquila’s performance is excellent, able to balance both uncertainty and strength.

Ricochet

With a departure from more conventional narrative, Ricochet is a short (around 4-minute) exploration of a honeymoon gone wrong following the couple indulging in some acid-laced raspberries. This is a hazy montage of increasingly intense and sinister experiences that may alienate some, but there is no doubt that a real effort has gone into constructing the imagery that provides a hallucinogenic feel.

It Takes a Village

It Takes a Village also prioritises its visual style over anything more straightforward, constructing a candy-coated suburban village where something sinister is happening. Sound clashes and overwhelms, delivering on the uncanny nature of the situation while maintaining that clearly defined visual style.

Don’t Go Where I Can’t Find You

After an arresting opening sequence, Don’t Go Where I Can’t Find You envelopes the viewer in a highly sophisticated and tactile haunting. Centred on a composer who seeks to use music and sound to connect with her dead lover, this has a palpable mood, enforced by layered sounds as jarring chords leap over static hisses. The time afforded to the story and the treatment of the ghostly goings-on allows for greater impact.

Violet Butterfield: Makeup Artist for the Dead

It is no surprise that Violet Butterfield secured the Audience Award at the festival. This charming, campy short features the charismatic presence of Violet (Michelle Colón) who has a special connection with her clients. The mix of the macabre funeral home setting and Violet’s quirky manner and style perfectly marry, but above all the film’s overall message of acceptance is intensely meaningful and uplifting.

The Queer Horror shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.

Final Girls Berlin Film Festival 2023: Bodily Autonomy Shorts Block

That the fight for bodily autonomy is still ongoing is utterly depressing so it is no surprise that creatives are taking that frustration around real-world horrors into striking horror narratives. The anger of these shorts is clear, calling attention to different kinds of control over bodies and lives.

Marked

Anyone who has ever experienced the side effects of hormonal birth control will find resonance in Marked. Andrea (Lauren Summers) takes on a new, experimental treatment after finding the pill is causing too many problems. While the unnerving visuals are memorable, the scariest part of this is the medical gaslighting she endures and how much she is sidelined in her own healthcare. The apathetic men around her do little to help and even the doctor is keen to emphasise the benefit for her partners over her own experience. This is an excellent union of horror with an all-too-real concern for many dealing with birth control.

La Antesala (The Anteroom)

This excellently rendered sci-fi concerning a refugee fleeing with her baby uses that initial gloss and high-tech appearance to expertly pull the rug from beneath viewers. A chilling view of a post-apocalyptic event and the increase in control that comes with it, delivering so many unpleasant details in dialogue before a final jolt of horror that hits hard.

Yummy Mummy

Lillith is having a baby and it is all people want to talk to her about. She laments, ‘no one is interested in me anymore…just the bump’ as everything in her life begins to revolve around her unborn child. Shrieking intrusions and quick cut highlight her increasing loss of control and voice. The clash between the talk of the birth of a child being a brilliant thing while also detailing the intensity of the medical experience perfectly outlines how trauma and celebration are both dominant concerns. The special effects here are excellent, coming to represent Lillith’s fractured state.

Sleep

I am not even that sure I can review this adequately. Every now and then you watch a film that hits you with the kind of fear that I can only describe as primal. At only around 5 minutes long Sleep is one of the shortest films in the block, yet uses close-up, tightly wound photography to the most unsettling effect. Absolutely anxiety-inducing and functions as a short blast of a nightmare I’m unable to get out of my head even weeks later.

Lichemoth

When a photographer heads to photograph a notorious metal band, she gets more than she bargains for when on-stage theatrics could be something more sinister than she ever imagined. With a strong basis in folklore this explores the idea of possession via sexuality. There is a dreamy quality to the original concert setting that persists throughout, using flashing lights to add to the sinister goings-on. This is a film content to take its time before arriving at its macabre reveal.

Sangue Nero

Sangue Nero features a young girl struggling with a tense family situation that escalates into abuse. Seeking revenge and to take back control, Chiara is led by unusual forces to complete this. The low-lighting of the house is warm, yet claustrophobic, aiding in placing the viewer in Chiara’s restricted, tense life. As the forces unfold, the ties between generations of women and a connection to nature become an increasingly intense mix, offering an escape from her harsh reality. This almost-dreamy take on revenge is engaging and satisfying.

The Bodily Autonomy shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.

Final Girls Berlin Film Festival 2023: Creatures Shorts Block

While some horrors can remain metaphorical, sometimes only a well-realised creature will do. This selection of short films pits people against creatures looking to invade, take over and otherwise alter their lives in a variety of ways.

Hell Gig

I’ve been lucky enough to see Hell Gig previously with an appreciative festival crowd and it is a real joy to see the sparky dialogue in this short land with a room full of people all on the same page. Maeve (Bruce Bundy) heads out into the desert to rescue her friend Eli (Jamie Loftus) but soon finds the situation is more out of control than she imagined. The pair are struggling stand-up comics and their insecurities and need for work have left them impatient with one another. Obviously, being within the Creatures section, you know there will be a creature but the reveal is absolutely joyous, with the puppetry adding a genuine sense of character that makes this so much fun.

Sucker

Alix Austin’s short neatly marries the physical and metaphorical while also merging practical and CGI effects to match. Sam (Sophia Capasso), worried about her sister Caitlin’s (Annie Knox) isolation, heads to her house to try and see what is behind her strange behaviour. Confronted with a unkempt flat, she starts to clean, until Caitlin reveals what has been holding her there. Searing audio-visual snippets showcase the internal turmoil while quick cuts enhance the uncanny nature of the reveal. This is such a clever way of handling this story, managing to convey its central metaphor as well as providing a satisfying creature film.

You’re My Best Friend

This quirky and enjoyable short makes great use of fun montages to sell its concept and the passage of time. What begins as an amusing, if slightly ridiculous concept is given a genuine sense of heart by the finale. Each step of this short takes you with it, delivering on gags at a high rate, whether in the initial trawl of dating apps or in the montages. The apartment styling allows the film to imprint a sense of style and a geography – by the climax this is a film that feels truly lived in.

Appendage

If there is anyone out there who doesn’t appreciate Rachel Sennott’s turns in either Bodies Bodies Bodies or Shiva Baby, I’ve not met them yet. She has an unmistakable charisma and an ability to deliver strong character work in such a short space of time that she’s near-perfect for short-form storytelling. In Appendage, she plays a nervy trainee designer trying her best to pitch her idea to an intimidating designer who undergoes an energetic and unusual battle with her confidence. This has an impressive energy and really does answer the question of what happens when body horror meets the critical inner voice.

Kid Free Weekend

Kicking off with a quote from ‘a very wise person’ about not interrupting a woman’s first taste of freedom, Kid Free Weekend immediately throws us into a cosy domestic space full of retro stylings. Sun streams in through the windows and our heroine Vivian looks set for a luxurious, quiet time. However, as night approaches, it soon becomes apparent that something is threatening her alone time as she is drawn into a battle with an invasive creature. What is really impressive here is how much the house is transformed as the tone shifts with the bathroom lighting becoming a harsh glare during the conflict.

Mantra

When Emma first watches Paul pinning insects she is intrigued by the process, so it is perhaps no surprise that when Paul leaves her alone, she forms an attachment with a praying mantis. This short utilises some incredible sound design and extreme close-ups for maximum discomfort and that under-your-skin quality. Despite that discomfort there’s also a sensual quality, with the slow, sophisticated photography enveloping the viewer into their isolated relationship.

Fishwife

Fishwife uses dialogue sparingly, for the most part introducing us to our lead character through the earthy tones and quiet rituals of her life before rupturing that with a late blast of energy and threat. Offering tantalising glimpses rather than overexplaining and indulgent detail, this manages to maintain a palpable sense of unease throughout.

The Creatures shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.

Final Girls Berlin Film Festival 2023: Close to Home

Taking something of a departure from the otherworldly elements of horror, the Close to Home shorts block features films that seek to explore everyday social, cultural and political concerns through the lens of horror.

Everybody Goes to the Hospital

Everybody Goes to the Hospital takes a distinctive animation style and marries it to an absolutely traumatising story of familial apathy and medical torment. Made all the more painful by hearing each detail in the voice of a child, the film unfolds in chapters that detail the medical issues of the girl, sometimes confused in her explanations as she tries to put together what is happening to her. Truly heartbreaking.

Merah Bawang Putih (Shallots & Garlic)

Generational divides, eating disorders and lockdown ennui all come together in this mix of family traditions and modern concerns. This adaptation of the folklore brings it to that modern setting and indulges in body horror (both external and internal, via calorie counts appearing on screen early in the narrative) along the way. An underlying soundtrack maintains a steady tension as the film unfolds.

Ethel

Like Everybody Goes to the Hospital, Ethel makes use of textured stop-motion animation to explore the nature of unpacking trauma as a child. In Ethel, the discovery of a box of outfits leads to a disquieting, fantastical dance with her mother’s passions surfacing in interesting ways.

Seafoam

Seafoam excellently uses extreme close-ups to constrict space and imbue a real feeling of claustrophobia throughout. Director and performer Izzy Stevens infuses the metaphor into every frame, with each moment increasingly feeling like an intrusion. Form and meaning are built well, with the splits in images and those close-ups contributing to a discomfort that grows ever more intense.

Scooter

I have been lucky enough to see Scooter a few times now and I appreciate it a little more each time. This story of a girl walking home alone at night is not what you expect and is all the more engaging for it. Anita Abdinezhad as Adrienne is a likeable screen presence and her reactions anchor the direction the film takes.

The Close to Home shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.

Final Girls Berlin Film Festival 2023: Menacing Presences

The Menaing Presences shorts block is full of films that leave an impression, whether they deliver on a well-earned jump scare or simply linger with heaps of unresolved tension.

L’appel (The Call)

Made from archive footage with a voiceover telling the story of a young woman seeing a notorious horror film and allowing the lasting fear and anxiety to fully influence her life. The footage used in the montage is interesting and the voiceover is calming, despite the serious nature of it. That idea of a film’s atmosphere being so penetrating that it directly changes someone’s trajectory is a very interesting one, speaking to the power of horror to strike chords with people far beyond the cinema.

Midnight Visitor

The premise of Midnight Visitor is a simple one – a woman in her apartment hears another woman outside in distress and has to balance her own safety and that of a stranger. In less than 4 minutes Abby Brenker’s Midnight Visitor manages to squeeze in a lot of nightmare fuel, along with a set piece that you definitely won’t see coming, despite the familiarity of the setup. That arresting moment is delivered perfectly, in keeping with the claustrophobic setting and sickly green tinge of the film. Definitely one of the ones that has stuck with me for the longest time.

Sleep Study

Pregnancy is terrifying when taken into the horror genre but the fear rarely stops there. Post-partum horror where sleepless nights and newborn anxieties dominate lives is full of opportunity for scares. Sleep Study takes this idea and runs with it in an appropriately jumpy and energetic presentation as a woman suffers from night terrors around her newborn baby. That energy is maintained throughout, pausing only to deliver on a sickly, well-realised finale that knows sometimes, the scariest things are the things you don’t see.

Night Work

Another eerie parenting tale in which a writer takes some time away from her 4-month old to catch up on work. As she continues to write, she can’t help but feel something else is with her. Night Work is so deeply ominous, thanks to excellent use of darkness and near-silence. Each frame encourages the viewer to explore the surroundings with longer, steady shots of darkened rooms that feel suddenly threatening. Keisha Mitchell does excellent work as an anchor to support those lingering looks and her performance is to be commended.

Mudmonster

While Mudmonster is a film that makes the most of uncanny visuals with simple yet effective design work, it is its sound design that most impressed me. The dips to near-silence are suffocating. The ability to genuinely provide a jolt without just turning up the volume on a jump-scare is one that should always be celebrated and this has several moments that utilise a lack of volume to incredibly disquieting effect. A music-box-style soundtrack later in the film further adds to the menace within the film, drawing all its threads together.

Knit One, Stab Two

I love a visual essay, so films like Knit One, Stab Two are always going to grab my attention. It is particularly interesting to see a focus on knitting within horror, allowing for the exploration of class, age and the impact of using a conventionally soothing activity to denote danger and even, as the film suggests, ‘a prop on the edge of madness’. More overt, knitting needle-as-weapon scenes are set against quieter scenes that merely hint at a character’s state of mind, but there is no doubt that this is an excellently researched and well presented piece.

The Menacing Presences shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.