The Outwaters exploits the trappings of found-footage that we’ve all come to know and love (or loathe) to create something distinctly different.
Synopsis: Four travelers encounter menacing phenomena while camping in a remote stretch of the Mojave Desert.
Found-footage remains a subgenre that really divides people. Years of sub-par offerings have, somewhat understandably, led to viewer fatigue and even further scepticism when it is suggested that a new film has rewritten the rules or provided a fresh take on it. The Outwaters presents a challenge to the conventional found-footage presentation, although opinions will be understandably split as to whether that challenge satisfies.
In typical found-footage fashion, our story begins with a panicked emergency phone call and details of the missing people our story follows. The introduction goes on to explain that Michelle (Michelle May), Angela (Angela Basolis), Scott (Scott Schamell) and Robbie (Robbie Banfitch, also directing and writing) were last seen in August 2017. Memory cards have been recovered and the findings of those cards are presented in unedited fashion.
If you are not already a found-footage fan, this is unlikely to convert you. It suffers from many of the same problems that films before it do, with extended sequences of getting to know characters through their recordings and plenty of dark spaces, loud noises and rattling cameras. These issues are compounded by the film’s length at around 1 hour and 50 minutes, including an opening section that definitely feels overlong. While that scene-setting is important, some may find the lingering and lack of momentum a struggle, especially when contrasted with the loud noises and frenzied style of the third act.
The four characters are in the desert to make a music video, the concept of which is suggested early in the recordings. Their idealised view of the desert and ‘Coachella’ stylings is soon ruptured, ranging from the odd but benign groups of donkeys that keep appearing to the more overtly sinister appearance of rattlesnakes and a hatchet thrown into the scenery. That the desert is not only terrifying but also spiritually further away from the rest of the world is really palpable here and the style ably captures the scale of it.
There were times during The Outwaters when I questioned the use of the found-footage storytelling method with some sections near-abandoning the conceit to add atmosphere. Despite this, by the film’s conclusion, I had come back around to understanding why this was used. The fragmentation of visuals and the ability of the camera in such settings to show ‘just enough’ protects the integrity of solid practical effects and skirts around the issues of trying to portray the cosmic. That first-person view of the chaos that unfolds in the final third would not be nearly as powerful if it attempted to show the full picture. Still, there will be frustrations around this as the viewer is kept, deliberately and repeatedly in the dark. Other imagery, when it appears is arresting enough that you are torn between wanting to immediately look away but also being completely compelled by it.
There are rewards to be had in surrendering yourself to The Outwaters and it certainly represents fierce creativity and an attempt to do something different, which should be celebrated, even if this does feel that it would be a more precise, impactful experience with a shorter runtime.
3.5 out of 5 stars
You can find a screening of The Outwaters (in US and Canada for now) at the following link.
Gaspar Noé’s controversial cult classic faces a director’s re-cut that manages to offer a more conventional narrative while also adding meaning to the original. Reader discretion is advised as this review will contain discussion of the film’s sexual violence.
Synopsis: One night. An unforgivable act. A tale told in reverse.Not for the faint of heart, easily offended, or anyone with photosensitivity, this is Noé’s dark masterpiece, in ‘reverse’ and ‘re-reversed’ versions.
It would be easy to consider Irreversible‘s structure to be a gimmick intended to distance and confound a viewer, but in releasing this re-cut, the original film’s provocative artistry is even easier to appreciate. Those screenings that intend to show both versions back-to-back, I hope, allow viewers to really examine the subjectivity and layers that they provide. For anyone not already familiar with 2002’s Irreversible there will be more discussion of plot points than would normally be expected in a review, so be warned of spoilers.
Irreversible introduces us to our characters in the midst of violence and chaos, landing on Marcus (Vincent Cassel) and Pierre (Albert Dupontel) on the worst day of their life. As we watch them navigate the seemingly endless swirling tunnels of The Rectum and the journey to the club we view Marcus as a man enraged, regressive in his language and on the cusp of lashing out. The original version of the film forces us to confront this version of Marcus, making the move to see him as the charismatic figure that we see with Alex (Monica Bellucci) all the more jarring. In the Straight Cut, his descent is obviously more linear and it is easier to feel warmth toward him. By the same token, in the original we see Alex first in the aftermath of what has happened to her and we then need the rest of the film to provide us with who she is, rather than just a victim. In the Straight Cut, we are allowed to grow closer to her first and while I don’t think it strictly makes the scene more impactful, there is certainly a case to be made for it feeling mildly less exploitative.
The Straight Cut is slightly shorter than the original, but Noé has been keen to stress that these edits have been made for rhythm and trims to dialogue rather than censorship or any attempt to walk back any of the film’s original controversies. This cut perhaps works best if you have already seen the original cut as every scene provides a new kind of dreadful anticipation as you get to know the characters with full knowledge of what happens to them. In addition, one of the film’s most crucial points about revenge is perhaps too easily lost in the onslaught of the original cut, obscuring a further injustice. By running as a more conventional narrative that element of the horror is far more obvious when we have been given more time to know Le Tenia’s (Jo Prestia) face.
There is a reason that this kind of cinema has been coined the ‘cinema of sensation’ by Martine Beugnet and Irreversible is a film that is impossible not to feel, regardless of the version. Whether it is the sustained violence, intense strobing or soundtrack frequencies intended to induce nausea in those who hear it, Irreversible is very clear that it intends to move the viewer and trap them within the nightmare. Throughout the film, the camera consistently has a nervous energy, always moving, frequently too close to the characters. That the only time the camera is noticeably still and at ground level is for the film’s notorious underpass scene is laden with meaning, inviting viewer complicity in a scene that should never lose its power. Some of the longer, out-of-context dialogue scenes would likely not be missed, although they do provide quieter padding before the thunderous set pieces to follow.
It is hard to believe that the film is 20 years old as it still has a fresh, unforgettable energy. Many will question the logic of this re-cut, but it confirms the original as more than just a provocative experiment. That it retains power even when run as a more conventional narrative exposes the thought and care in the characters and plot. While there are now more films that challenge the conventional rape-revenge narrative satisfaction (Violation, Promising Young Woman) Irreversible is truly a one-off in the hollowness of revenge and ultimate horror it portrays. The duality of the statements, ‘time reveals all things’ and ‘time destroys all things’ is perfectly encapsulated by both versions working in harmony.
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.
Fear of the body, what it can do to you and what it can become is, understandably, a major preoccupation in horror. The Body Horror shorts block explores those fears in a selection of films that take that fear to extremes.
In The Flesh
Tracey has spent enough time masturbating with the assistance of her bath tap that she has started to take notes. Those notes are seen early on, reflecting how much of her time and other life, including work, is being taken up by her hobby. One plumbing disaster later and Tracey is forced to confront the reality behind her odd situation. Many reviews have made comparisons to the leaking fluid from Titane, which is understandable in some ways, although In The Flesh is a more individualistic tale, with Tracey’s state of mind at the centre. Her anxiety spiral, demonstrated by cuts to increasingly unhinged Google search results keeps us with her throughout the runtime, an effect that allows the rest of the film to stretch into other areas and fully bring this story together. The physical and emotional are interlinked in a way perfectly expressed by the film’s take on body horror, resulting in a pretty powerful message.
Violet Daze
Violet and Daisy’s long-time friendship is established early on within Violet Daze and the tension from their changing friendship resulting from a move is central. Daisy is keen to point out that they aren’t 8 years old anymore, but Violet is set on reaffirming their friendship, no matter the cost. This is such a skilful short in that it telegraphs its direction from the outset, yet manages to retain the tension, embracing the inevitability as another layer of horror. Director Marisa Martin drip-feeds the viewer, each moment laden with meaning and increasing dread. Bonnie Ferguson as Violet and Emma Horn as Daisy both portray their roles excellently, crucial when so much rests on their interactions.
Shlop
One of the block’s shortest films is Shlop, coming in at just over two minutes long. If body horror is about finding fear and revulsion in the body, this certainly taps into that, offering ultra close-ups full of movement and squelching. Deliberately difficult to pin down, this denies narrative in favour of feeling and the drive to evoke discomfort.
First Blood
A first period is a stepping stone in many coming-of-age horrors and First Blood functions as a particularly good example. Rather than feeling revulsion or unhappiness at her first period, Mia (Lauryn Sa) instead greets it with a muted, yet prepared response. That initial flatness soon wears off, however, as she finds herself increasingly curious about the process. Mixing music video aesthetics with provocative visuals that Lauryn Sa fully commits to this exploration of awakening female hunger really leaves an impression.
Swallow
On a purely personal level, this film was probably the most difficult for me to watch, such is the effectiveness of what it serves up. After a tense dinner, a self-absorbed actress is invited by another woman to a mysterious club to discuss the secrets of her continued success. The sumptuous visuals draw you in before switching to ever more skin-crawlingly effective imagery. However, it is the dark playfulness of the short that keeps you engaged, toying with punchlines and upping the suspense all the way through.
Love is a Fire
Intimacy issues and a particularly vicious yeast infection present an obstacle for the couple at the centre of Love is a Fire. The couple are presented as struggling with their physical relationship, pitching Olivia’s (Celina Bernstein) desperate attempt to connect against Andrew’s (Kenny Yates) reluctance. In many films exploring the dynamic of a struggling couple, female desire is often sidelined, so it is refreshing to see it front and centre here, even when deriving horror from it. This would perhaps benefit from being slightly longer to more fully explore the couple, although both performers do well to sell their relationship in a short space of time, a little more about them would assist. However, it is the memorable effects that you’ll likely take away with you – like it or not…
Legs
Pregnancy is pretty high on the list of body horror explorations, and for good reason. It is still one of the statistically most dangerous things for a person to do, even with good medical care, so what better phenomenon to mine than that? Joy and her husband are attempting to have a baby and the process is wearing. When Joy accidentally swallows a spider, she thinks there may be another way to be a mother. By mostly adopting the bright colours and peppy soundtrack of something much lighter, Legs gradually dials up the horror until a conclusion that is genuinely unsettling.
The Body 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 always curates a particularly exciting short film lineup and this year is no different. The Female Pacts block explores the nature and power of women connected to one another, whether in the same space and time or across generations.
All Girls
All Girls is an early contender for the best line of the festival, which I can’t share without spoiling it, but I really urge everyone to check out this short. Fiercely driven leader Heather (Dolores Carbonari) takes her group of friends on a practice run of a hiking challenge intended to secure the best possible University application brag. However, after much bickering, the group end up lost and without equipment, putting the entire trip, and their lives in jeopardy. The strength here is in the cast, working to bounce snappy dialogue around in the open air. The interplay between them, especially in Heather’s most excitable moments is easy to engage with. The outdoor photography is very effective in isolating the girls within a difficult environment with director Anastasia Bruce-Jones able to switch from that vastness to the quieter, inner thoughts of the girls with sophistication.
Blood Rites
Another British offering and another slice of darkness with a side of wry humour – this time based on a short story about 3 girls with an unusual appetite finding themselves in the English countryside. The comic beats between the three main performers are so well-pitched with Mirren Mack, Ella-Rae Smith and Ellis George all delivering distinct characters in a short runtime. The film has fun with its humour and a particularly notable nod to the high-school corridor power walk but also delivers on the horror stakes with their unique condition and personalities creating issues for them.
Sabbath
From the slow creep over a cliffside, Sabbath is a film keen to indulge in tension as a group of women stand accused of witchcraft. The events of the film take place in broad daylight, with the brightness furthering the discomfort as a religious figure loudly decries the women and their ‘crimes’. The film could be forgiven for surviving on the intensity of the dialogue alone, but director Alexandra Mignien gradually dials up to something far more explosive and, ultimately, satisfying.
Souterraines (Rooted)
A far more mellow (to some degree), but no less effective offering is Souterraines, a story of a woman in search of the secrets of her family that she feels immensely burdened by, yet drawn to. When she meets another young woman at the home, the pair begin to unpick their feelings, fears and suspicions of what is happening around them. The dialogue is poetic, laden with metaphor, supported by the dimly lit house providing an intimacy up until a bracing conclusion.
Huella
Daniela works at a call centre, dealing with the mundanity of customer calls with good grace despite the recent loss of her grandmother. As her mourning continues, her dancing background comes to the fore in a flow of interconnected, dream (or nightmare) sequences. The flow of this is really something special with seamless editing and movement providing a high-energy experience along with some memorably jarring moments.
No Man’s Land
The most overtly comic short of the block comes in the form of No Man’s Land, featuring a cult led by a man who may, or may not be, involved in one of the most infamous documentaries put on screen. Despite the well-pitched jokes, this also has a serious thread about those who preach faux-empowerment as a form of control. References to ‘finding your awesome’ sit at odds with the increasingly restrictive behaviour as the day of ascension approaches. The cast are effective here in selling the insecurities of the group and the arrival in this space without much need for background. Effective and entertaining.
The Female Pacts shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.
A teenager takes on a dangerous mission in Mariana Bastos’ bitingly clever drama.
Synopsis: Raquel is a teenager who moves with her father to a small town, in search of a new life. During her first days there she believes she is given an important and controversial mission related to the Bible.
When Raquel (Valentina Herszage) moves to a small town, her immediate acceptance into a local religious circle appears to be a blessing, showing her warmth and companionship under unfamiliar circumstances. However, as the group’s central belief of submission and subservience of women comes to the fore, she begins to question the use of the Bible in rationalising, condoning and even mandating control over women. Those questions soon lead to a movement that threatens her place within her new community as she decides to reclaim the words for herself.
Religious horror is a mainstay of the genre, with the core idea of good vs evil obviously underpinning many films, but more interesting are the works that present women undertaking personal missions linked to a higher religious power. Films like Saint Maud and A Banquet both feature women burdened and spurred on by cosmic enlightenment, but do so in a way that calls into question their mental health and places a tremendous personal cost on them. Within Raquel 1,1, there is rather more sobriety, aided by the film’s more muted qualities. That lower key doesn’t, however, prevent the film from engaging in otherworldly moments, but its attempts to echo religious imagery are more organic than any special-effects-driven take.
Raquel is not on a direct mission to save one person, nor is she rendered under a kind of fevered possession seen in those films mentioned above, but something far more grounded. Her need to exorcise the damaging passages about women from the Bible is rooted in her past, but also in the behaviour she sees in the young women and men around her – her drive is in preventing those words being used to justify that ill treatment. This is truly a story about reclaiming and critique as Raquel’s own faith is not influenced by her non-religious father – she seeks to claim it for herself rather than abolish entirely.
Bastos’ film is economic with its imagery, instead placing an emphasis on voiceover or text in exploring Raquel’s past. Her reasons for challenging the words within the Bible are revealed slowly, each time increasing in their harrowing details. At each stage we see Raquel experience those memories and thanks to a committed and engaging performance from Valentina Herszage, this becomes more powerful than providing the visuals ever could be. Her experience hangs over the film like a spectre with long, slow shots of the cave in which she has her revelation treated as a traditional horror space before switching to the aural reveals. The film becomes overwhelming in its sobriety, taking time to pause at other moral panics (most notably the Satanic Panic) in which people become targeted for being at odds with the current system.
While the film toys with moments of magical realism, it uses them sparingly and powerfully, often without thorough explanation or exploration. That is likely to frustrate some who might long for clearer answers about her revelation, although the film’s technical choices make it clear that is not the film it wants to be. The bulk of the film’s power lies in the words spoken, whether recited from the Bible or recounted from the past – this is a film with something to say about the treatment of women within modern society based on ancient texts and affords them the volume to say it.
Overall, Raquel 1,1 is a bold film, refusing to take an easy (and lazy) critique of religion and instead molding a powerful critique of how texts can allow all genders to justify poor treatment of others and how those who seek to upend those systems can be vilified. Bastos’ restraint in writing and direction allow the performances and messaging to shine.
4.5 out of 5 stars
Raquel 1:1 screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.
Running from Feburary 1st to 5th, The Final Girls Berlin Film Festival returns for the 8th edition, bringing their longest ever line-up of female and non-binary-focused features and shorts. You can view the whole program and get full passes here (individual and online tickets to follow).
The features lineup boasts a selection of firm festival favourites in Sissy, Watcher, Hatching and Huesera, all featuring excellent central performances by young women confronting their surroundings and in some cases, their own natures. There are plenty of new films with German premieres of Polaris and Nightmare and a Berlin premiere of Raquel 1:1, but also a chance to rediscover the lesser-known Australian film Celia.
That variety continues across 10 absolutely stacked short film blocks with intriguing block titles promising a range of films tackling important, all-too-relevant social horrors in addition to the otherworldly scares we all love to indulge in. Including films like Kelsey Bollig’s incredible Kickstart My Heart and Izzy Lee’s deranged Meat Friend there’s sure to be something for everyone. The block titles are outlined below. FEMALE PACTS, BODY HORROR, MENACING PRESENCES, CLOSE TO HOME, CREATURES, BODILY AUTONOMY, QUEER HORROR, MIDNIGHT, YOUNG ‘N DEADLY, and HIGH TENSION.
Many of the shorts will be available via Vimeo On Demand throughout the festival and there is an online ticket option for those wanting to watch who can’t be there in person.
As ever, the festival is providing a platform to excellent speakers and some truly unique events, including a Tarot workshop, witchy choreography study and a zombie self defense session. In the talks, Mexican sexuality, hagsploitation and rape-revenge are all under the microscope in what are sure to be fascinating and insightful discussions.
For more information about the festival please go to the Final Girls Berlin webpage. You can also keep up with the festival on social media on Twitter (@finalgirlsfest), Instagram (@finalgirlsfilmfest), Facebook (Final Girls Berlin). For exclusives and updates you can also sign up to their Patreon.
It feels like every year I have a more difficult time trying to narrow my favourite films of the year to a reasonable number. I’m lucky to see a vast number of horror films, so as you might expect, they dominate this list. With so many movies in production, it often feels like some are left underappreciated and even not picked up for big enough releases that they find their audiences. The time between festival screenings and wider releases also makes it difficult to truly narrow down what is a 2022 film. Some on my list were at festivals in 2021 and others may not be widely available until 2023 in some locations. To keep things relatively simple – if I saw it in 2022, it has been included. In addition, some of these films I’ve already reviewed and as I’ve looked over the titles from this year, even some of the films I’ve given higher star ratings to haven’t stayed in my mind as I thought they would so the list may have some surprises.
Before the list and to ensure I mention as many films for people to check out as possible, there are a few honourable mentions. The crowd-pleasing found-footage Deadstream which found a pleasingly aggravating screen presence in Shawn Ruddy (played to perfection by co-writer and director Joseph Winter). Tense drug-trafficking horrorSwallowed and lot-lizard slasher Candy Land both pushed boundaries and buttons in their physicality. Pandemic projectLexi showcased indie horror’s ability to create compelling narratives even when isolated. The intense and dreamlike New Religion took the study of grief in a new, somewhat slippery but completely absorbing direction.
Huesera: The Bone Woman managed to deftly handle bodily autonomy and produce at least one scare that I felt rattle an entire audience at Celluloid Screams.Master brought a hypnotic quality to a story of two black women struggling with their experiences at a prestigious University. True-crime biopicNitram managed to be both deeply unsettling, but respectful of the tragedy it is based on. The film on every horror fan’s lips this year was the dread-filled study of politeness gone too far,Speak No Evil. Although I wanted a sharper offering, Bodies Bodies Bodies proved a fun watch, with Lee Pace, Rachel Sennott and Pete Davidson delivering some excellent one-liners. Lastly, Piggy should see Laura Galán’s star continue to rise after her incredible performance in a murky morality tale about a bullied teenager reckoning with a shocking event in her community.
With all those covered (because yes, I’m cheating by including a pretty large number of mentions), on with the list! At the end of each section, you’ll find a link to JustWatch so you can see how to watch it. These will be UK by default but you can switch to your location on the site. If I have reviewed a film, you’ll be able to click the title and be taken to that review in a new window.
25. X
From the first glimpse of Mia Goth’s blue eyeshadow X‘s visual stamp was clear. The resulting film is fascinating and made even more interesting by surprise prequel, Pearl being released almost immediately afterwards (although not for UK viewers until March 2023) and sequel MaXXXine already in the works. Mia Goth is obviously doing outstanding work in the dual roles of Maxine and Pearl, but the supporting cast of Jenna Ortega, Brittany Snow, Scott Mescudi, Martin Henderson and Owen Campbell round out the group of would-be porn crew members incredibly well. Some have argued that the presentation of Pearl and age in general within the film falls into some older, even damaging tropes. However, I’d argue that there’s more nuance involved and many people’s perceptions of what the film may actually be saying has perhaps been tainted by the kind of nervous laughter mainstream audiences sometimes produce in the face of nudity and sexuality. X on JustWatch
Sometimes one scene can be enough to really let a film embed itself into your memory. You Are Not My Mother has one of those scenes in which Char’s (Hazel Doupe) mother Angela (Carolyn Bracken) instigates a dance that soon turns into one of the year’s most intense sequences. The rest of the film is just as powerful, taking underutilized mythology and placing it in modern Ireland in the centre of a struggling family unit. You Are Not My Mother on JustWatch
Almost a Greatest Hits of Cronenberg’s dominant concerns over the decades of his career but one that also finds humour and humanity among the darkness. By leaning into the absurdity of the concept of an ‘Inner Beauty Pageant’ the film is perfectly placed to extend its commentary to the wider ecological situation. Kristen Stewart’s twitchy performance is a real highlight but as usual, Cronenberg’s world and body-building is second-to-none. Crimes of the Future on JustWatch
Brea Grant’s 12 Hour Shift is a firm favourite of mine so I was really excited to hear about Torn Hearts. I watched it earlier in the year and loved it – strong performances and a darkly comic streak punctuate what becomes a really potent comment on the way media treats female artists. Seeing the film again at FrightFest with a full audience really brought out the fun of it with each line drawing the perfect response. Such a great girls night in movie! Torn Hearts on JustWatch
21. Halloween Ends
Following the outright disappointment of Halloween Kills I went into this with low expectations. Obviously, I was always going to see the final (although we already know it is unlikely to be the actual final because of the way these things work) and was basically expecting an almost paint-by-numbers Michael vs Laurie final showdown. Which, to be totally honest, I’d have probably enjoyed. However, that explosive opening and the entire shift in direction made this one of my most enjoyable cinema experiences. I can totally understand that the big swings would not work for other people but any film that has Jamie Lee Curtis uttering the line, ‘show grief your tits’, to her granddaughter who has *clearly* developed a bit of a kink for violence over the course of the series is absolutely fine with me. Each line of wild dialogue, borderline terrible editing and even a Real Housewives meme made it something to remember. Halloween Ends on JustWatch
In keeping with returns to franchises and taking them in fun directions, Orphan: First Kill had to make this list. Isabelle Fuhrman has always clearly had a fondness for her role as Esther, but returning to a role that requires her to play a child in a prequel to a film she made 13 years ago seemed like it had the potential to fail. A host of technical and practical effects worked like magic, but the real strength of this is in Fuhrman and Julia Stiles’ performances, bouncing off one another excellently. This is wildly entertaining, campy horror that feels like a suitable companion to the original. Orphan: First Kill on JustWatch
Regular readers will know that I really do love the potential for horror (and horror-adjacent genre works) to explore huge emotional depth and that I also enjoy a bloody good cry. Next Exit delivers on both counts, presenting a story in which a scientific advancement has seemingly proven the existence of life after death, upending the way the many feel about their mortality. Cue Rose (Katie Parker) and Teddy (Rahul Kohli) heading on a last road trip to be part of a study. Their easy chemistry makes this a film to fall in love with, even though it also explores some dark material. If your seat mate at a film festival needs to ask you and your friend if you’re alright at the end of the film, you know it has done the job! Next Exit on JustWatch
18. The Banshees of Inisherin
This brilliant, achingly sad but incredibly funny drama has such a specific kind of charm. Kerry Condon is a highlight for me, but honestly, there isn’t a weak link in the whole cast who perform their roles seemingly effortlessly in the face of such precise writing. So many excellent one-liners mean the true sadness of it kind of creeps up on you, offering a greater impact. The Banshees of Inisherin on JustWatch
17. Hatching
Sometimes a film still does more to sum up what I love about a film than if I wrote 10,000 words. Hatching‘s middle-class setting with a quest for perfection and pressure it places on young gymnast Tinja (Siiri Solalinna). After she finds a mysterious egg in the woods near her home, she decides to take it home and look after it. There is a perfect kind of weirdness to this, the grisliness clashing with the beautiful surroundings. Unlike many, this ends at an absolutely ideal, if abrupt moment that furthers the overall mood of the film. Hatching on JustWatch
16. Nope
Even though this is probably my least favourite of Jordan Peele’s output so far there is no denying that Nope made for an incredible cinematic experience. Using the medium of the Hollywood spectacle to make comments on the nature of exploitation and the desire to witness incredibly traumatic moments to turn them into commodities is such a bold, inventive move. The film uses its cast to their full potential, allowing an incredible Steven Yeun monologue the space to truly hit home, utilising the infectious energy of Keke Palmer and placing Daniel Kaluuya centre stage of the imagery he truly deserves. Nope on JustWatch
15. Sissy
It would be easy for Sissy to get lost in the shuffle of other ‘influencer’ horror entries, but this film really does stand out over them. The poking fun at the culture around toxic wellness is excellently pitched and laces neatly with the core story about reconnecting with a friendship likely best left in the past. The design of this is really striking and a core cast headed by the brilliant Aisha Dee as Cecilia bring everything to frequently uncomfortable life. I’ve said this before, but any horror movie that manages a Kath and Kim reference is always going to go down well with me. Sissy on JustWatch
14. Breathing Happy
Being emotionally devastating is not a guaranteed way to get on my list of favourite films, but it does help. Shane Brady’s Christmas Carol-like tale of addiction, sobriety and the way we think about our pasts is powerful and immersive but also retains a kind of feverish weirdness and offbeat humour that keeps you engaged. Far from being an all-out misery fest, Breathing Happy‘s characters are drawn with a sense of resilience. All this, however, did not stop me from absolutely sobbing several times throughout this film on the two occasions I’ve seen it. A powerful indie film selected by the Soho Horror Film Festival that will hopefully pick up many fans on a wider release. Breathing Happy does not have a JustWatch entry at the time of writing
Keeping it indie for the lucky 13th entry. Avalon Fast’s Honeycomb is such an achievement and even though the style won’t appeal to everyone, the film is as much an ode to making films with friends and the closeness that collaboration brings. The narrative itself surrounds a group of young girls who head off to make their own society with their own rules that soon sours. It would be too easy (and largely inaccurate) to compare to a DIY Yellowjackets, although that this kind of narrative is so compelling is a good sign that ensemble female casts with flawed characters is here to stay, which can only be a good thing. Honeycomb does not have a JustWatch entry at the time of writing
12. Scream
Legacy sequels are tricky, as already covered in the Halloween Ends entry on this list, but the Radio Silence team really held the weight of taking on the first new Scream entry for 10 years *and* the first with no involvement from beloved creator Wes Craven. That they were able to tempt back performers to bring those characters to life (and death) once again and provided numerous loving homages to the first four entries is nothing short of incredible. As well as providing a hit of nostalgia, the introduction of new characters means we’ve got far more to look forward to in 2023’s Scream 6. Scream on JustWatch
11. The Bob’s Burgers Movie
I don’t think I’ve watched any film as much as this one this year. Big-screen outings for TV series are always a risk but this managed to upscale both the visuals and narrative elements. Funny, great songs and immensely quotable dialogue make this just so easy to throw on no matter what else is happening in your day. The Bob’s Burger’s Movie on JustWatch
A deeply disconcerting soundscape and beautiful photography of the decaying space that the central sibling pair inhabit make this a film to be drawn into, even when the content is not for everyone. This has the spirit of some New French Extremity films without ever really tipping into that level of transgression. That doesn’t make it an easy watch, however, with Eline Schumacher’s performance as Martha never anything other than uncomfortable. Megalomaniac does not have a JustWatch entry at the time of writing
Another emotional entry from Soho Horror Film Festival in the queer-focused, rather more gentle horror The Jessica Cabin. The cast chemistry is excellent and clever writing makes the most of limited settings and effects to create an emotive take on remembrance, eternity and longing. It is so refreshing to see a film that is so upfront about its queer content without needing to be a story about queer pain. Yes, there are undercurrents, but there’s something so beautiful about just witnessing these characters as they are. Writer and director Daniel Montgomery wrote this in a cabin while listening to Taylor Swift’s folklore, which after you see the film, you’ll agree should become a more standard practice. The Jessica Cabin does not have a JustWatch entry at the time of writing.
Tropic is another of those films that utilises genre elements quite sparingly but to unnerving effect and to enhance the rather more grounded message they are trying to convey. I’ve heard so little about this film since it was shown at Fantastic Fest that it feels like the most beautiful secret that I’m keen to share with people. This tale of two brothers caught up in a relentless march for progress due to greed and damage is utterly compelling. Tropic does not have a JustWatch entry at the time of writing.
7. The Harbinger
I cannot overstate how utterly terrifying I found The Harbinger. Director Andy Mitton’s absolute mastery of offbeat jump scares that deliver on pure terror has long been proven but this nightmarish pandemic vision feels like it significantly raises the stakes. Among the horror is an emotional thread about memory and dealing with crises. It is also the first pandemic horror I can recall that places a focus on the desire to protect people throughout it, the measures taken to contain it and the ultimate horror of failing at that. If Andy Mitton wants to lead any future attempt at The Nightmare on Elm Street he’d be a perfect fit, although I’m just as content to see him craft his uniquely brilliant original ideas too. The Harbingerdoes not have a JustWatch entry at the time of writingbut will be released in the UK on January 23rd by Signature Entertainment and FrightFest Presents.
6. Bones and All
A very late addition to this list, but one that quickly made an impression. Bones and All is a beautifully shot story in which the central romance that is made such a feature of in advertising becomes secondary to a world in which other (and easily read as queer) people find themselves negotiating their space in a world that views their differences as horrific. The horror cuts through normality and initially pleasant conversations turn dark as Maren (Taylor Russell) and Lee (Timothée Chalamet) navigate their way through their identities. Mark Rylance’s turn as Sully is breathtaking, again initially benign but soon unearthing a series of transgressions. I initially questioned the 2+-hour run time but it unfolds at exactly the right pace to tell this story. Bones and All on JustWatch
5. Men
I can’t help but feel much of the reception to this film rests on both the title seemingly promising some an all-encompassing thesis on male toxicity that the film could never deliver and also the perception that this is from a male creator and therefore cannot (and more worryingly, should not) tackle this material. What Alex Garland has done is centre Harper (a brilliantly stoic Jessie Buckley) as a woman recovering and reckoning with the way the world has treated her. Her retreat from her modern home space into the rural one, full of the weight of tradition and isolation is brilliantly absorbing and delivers on such memorable folk-horror imagery that it has hardly left my mind since first-watch. Men on JustWatch
4. Hypchondriac
An utterly charming performance from Zach Villa as Will, a young man battling his own demons after his mentally ill mother begins to communicate with him. It isn’t often that you get a disclaimer ahead of a film that it is ‘based on a real breakdown’ but that is exactly what you have here. Director and writer Addison Heimann delivers the kind of jumps and jolts you’d expect from any mainstream horror while also providing a deeply moving emotional core, centred around identity, agency and human perseverance. A truly impressive achievement and I don’t think there’s been a single other character this year I’ve fallen in love with as quickly as Will. Hypochondriac does not have a JustWatch entry at the time of writing.
3. A Wounded Fawn
Despite absolutely loving this I’ve found it difficult to write anything concrete about it that really explores that love (maybe something to do in 2023?). Travis Steven’s previous work has explored the threat of male violence and the female desperation to claw back against restrictive images in both The Girl on the Third Floor and Jakob’s Wife. In A Wounded Fawn he finds perhaps the least conventional narrative so far with a shift into the operatic and stylistically confrontational story of a serial killer bringing his latest would-be victim to a cabin. Wherever you think this is going from the opening, sumptuously-shot scenes, you’re probably wrong. Utilising a host of visual and aural techniques with absolutely incredible performances from both Josh Ruben and Sarah Lind, this is such an audacious piece of work that demands attention. A Wounded Fawn on JustWatch
If you have been in my company at any point this year following the screening of The Leech at FrightFest in August, odds are, I’ve brought it up. The horny Christmas movie with a seethingly angry social and cultural critique at heart that I didn’t know I needed. Eric Pennycoff’s Sadistic Intentions proves an excellent starting point for this mostly three-person masterclass in discomfort and shifting allegiances. As highlighted in my Ghouls review, each performer finds an easy space in which to anchor the film’s more decadent and transgressive excesses. The Leech on JustWatch
I think I could probably watch this every single week and still find new things to love (and go mildly insane trying to crack clues) about it. The way that Aaron Moorhead and Justin Benson have managed to create something that is both intimate and expansive is just further evidence of the magic that these creatives bring to their films. Full of references to their previous work, but not essential to know to follow, this truly walks a line of rewarding older fans while also welcoming new ones. The film allows us only a slippery grasp of what *actually* happens, allowing the viewer’s imagination to run as wild as John and Levi’s. A beautiful film, full of their trademark sparky dialogue and sci-fi-infused philosophy. Something in the Dirt on JustWatch
Let me know your favourites of 2022 and be sure to look out for these releases in the New Year.
A selection of short films in reaction to the overturning of Roe vs. Wade.
Synopsis: Expands the importance of bodily autonomy and addresses the issues of a democracy that does not protect the needs of the majority of the population.
The overturning of Roe vs. Wade in June this year felt like a blow to everyone who may find themselves with an unwanted, dangerous or unviable pregnancy. Limiting crucial access to often life-saving healthcare for a significant part of the population felt like a cruel blow, even for those outside the USA. Give Me An A! is a selection of critiques of that decision and the thoughts around it, bringing sci-fi, horror, comedy and satire in a collective reaction.
Following a dedication to ‘our mothers, our grandmothers and all those upon whose shoulders we stand today’ A! introduces a changing room of teenagers. The group engage in talk about proper tampon use and other subjects like the fetishisation of their uniforms before launching into a routine about bodily autonomy. Already, there is a cohesion between those women who have gone before and those having to ready themselves to fight again, creating a powerful statement about the current situation.
The shorts that make up the film range from the emotionally disturbing The Voiceless, the satire of DTF and even the faux-infomercial stylings of Plan C, to name but a few. Boasting an impressive list of creatives and performers each segment possesses its own clear identity and a different handling of the material. This careful placement and movement through different tones sustain the film’s energy, allowing an ebb and flow of lighter and more distressing takes.
Whether the segments are skewering the relative apathy of men in the face of bodily autonomy (DTF and the Love-Island-style gameshow Crucible Island), seeking to explore the very real impact on young girls (the slick transitions and emotional weight of Sweetie) or taking a more body-horror-related angle (The Voiceless and Medi-Evil) the throughline in them all is, understandably, rage. Even the cutaways back to the cheerleaders, staring into the camera as they announce the next film are all imbued with a sense of anger that hangs over the whole project.
As with any anthology, viewers will find more to like about some sections than others. However, with clear tackling of such a pressing concern each offering feels relevant and more importantly, potent.
4 out of 5 stars
Give Me An A! screened as part of Fantastic Fest 2022. Find out more about the festival at their webpage.
The cult of Benson and Moorhead deepens with their latest feature which manages to explore fascinating phenomena through a rather more intimate, restricted setting.
Synopsis: When neighbors John and Levi witness supernatural events in their Los Angeles apartment building, they realize documenting the paranormal could inject some fame and fortune into their wasted lives. An ever-deeper, darker rabbit hole, their friendship frays as they uncover the dangers of the phenomena, the city and each other.
Across their previous work, Justin Benson and Aaron Moorhead have established a knack for bringing engaging characters to the screen, foregrounding those relationships as an anchor for their explorations of sci-fi concepts. Something In The Dirt continues that preoccupation with intense male friendships while also adding a detailed, sinister, and, at times, playful, exploration of conspiracy thinking.
A meeting between divorcé John (Aaron Moorhead) and drifting barman Levi (Justin Benson) soon transforms into a folie à deux relationship of mutual manipulation and a desperate search for meaning after the discovery of strange phenomena in Levi’s new apartment. Moorhead and Benson are no strangers to acting opposite one another, allowing them to centre that chemistry, bringing a likeability to both characters even when playing with evolving audience perceptions of them. While films like Resolution, The Endless and Synchronic all focus on long-term relationships and the baggage that comes with them, Something In The Dirt finds tension in the new, unpredictable partnership they find themselves in.
The production design is excellent, bringing to life the apartment where the pair spend the bulk of their time. Much is made of the escalating heat within the space, with the walls seeming to sweat and buckle under it. There is an initial simplicity to the phenomena that aids the development too – too much too soon and the believability of the scenario is lost so the initial visual hook proves essential for providing that first spark. This attention to detail delivers further when the pair venture outside in search of further clues with symbols, shapes, and even references to their previous work (most specifically The Endless) appearing. The entire design places the viewer in the same space as Levi and John, challenging them to find the same clues (or even different ones) to the two men. Despite being a pandemic project, there is very little mention of those circumstances, with Levi and John isolated not by any outside restrictions but by their own directions in life. Both are defined, to some degree, by their loss of connection to those around them.
Los Angeles also plays a crucial role in the film in terms of how it can be demonised or romanticised as ‘LA Magic’. Levi’s video of a coyote wandering near the apartment operates as a moment of quiet beauty and danger simultaneously. Recent conspiracy thriller The Scary of Sixty-First used New York to the same effect, making the city an integral part of the mood and tone of the film in their contrasts between festive advertising and buildings adorned with gargoyles. The relative anonymity of a big city makes the connection between two people who appear to share the same vision a rather more seductive one and that sense of being lost to the conspiracy as an escape from an otherwise disappointing reality is one that is impossible to ignore. However you choose to interpret the film’s reality of ‘what actually happened’ that thread remains. From the outset, the seemingly constant noisy hum, heat and movement of LA is foregrounded with wildfires, earthquakes and low-flying planes all a quietly accepted part of life.
In terms of the references to their other work, it feels important to note that previous knowledge is not essential and elements like a photograph, film poster, or beer advertisement will strike a chord with fans without disrupting the experience for unfamiliar viewers. More rewarding for fans of their previous work is that this feels like a culmination of the pair’s aesthetic and thematic interests. The addition of ‘meta’ elements like the documentary footage wraparound, clips of their own home movies and dramatically elevated reconstructions make Something In The Dirt a film constantly on the move and constantly challenging the viewer to keep up with the thought processes of the central duo. The performances are excellent, with Benson’s rather more sensitive portrayal of Levi pitched against Moorhead’s more intense John to frequently disquieting effect. The talking heads in the documentary portions are convincing too, perfectly adopting the accepted tone of the documentary being pulled together.
Matryoshka dolls that feature as part of a wind chime outside the apartment appear at distinct moments throughout the film as it explores its layers. This is rarely a linear film, especially with the segues to different formats but it somehow finds cohesion in this scattering. Like John and Levi, the viewer becomes free to start imprinting their own meanings and conclusions onto the film, taking up only the threads that resonate.
An entirely magnetic and absorbing work that invites and rewards repeat viewings, Something In The Dirt is a film content to go at its own pace and truly indulges in the strangeness and human nature it wishes to explore.
5 out of 5 stars
Lightbulb Film Distribution release Something in the Dirt in select cinemas on November 4th. Find the list of cinemas here.
scaredsheepless 