The films may be short, but there is no shortage of scares as Arrow Video FrightFest 2020 announces its showcase of the best new short films from the UK and around the world, with six countries representing three continents. From under-the-bed monsters to monsters in front of your eyes, from the sinister and the creepy to the wickedly human and the not-so-human, this year’s selection shines a spotlight on upcoming filmmakers.
The UK is represented with a record eleven entries. There are world premiere screenings for Werewolf, where game night just got dangerous, A Bit Of Fun, where a girls’ night in brings out the dead and The Beholder, in which you’d be wise to beware the eyes of strangers…
Homeland talent is further highlighted with Flesh Control, which will surely bug you and in The Afterlife Bureau who says there is no paperwork when you’re dead? Staying...
The UK is represented with a record eleven entries. There are world premiere screenings for Werewolf, where game night just got dangerous, A Bit Of Fun, where a girls’ night in brings out the dead and The Beholder, in which you’d be wise to beware the eyes of strangers…
Homeland talent is further highlighted with Flesh Control, which will surely bug you and in The Afterlife Bureau who says there is no paperwork when you’re dead? Staying...
- 8/11/2020
- by Phil Wheat
- Nerdly
Caspar Seale Jones’s drama about a young woman afraid of her past is a masterclass in engrossing, show-don’t-tell film-making
Here’s one of those rare lowish-budget, entirely off-radar British debuts that feels like a discovery. Adventurous writer-director Caspar Seale Jones has relocated a stock horror starting point – fraught young woman fleeing something abominable in her past – to Japan, which instantly gifts his frames more distinctive vistas than all those potboilers pursuing teenagers through the streets of Peterborough or Stroud. More intriguingly, To Tokyo is in that Japanese folk-horror tradition that yielded Onibaba and Kwaidan, making merry-macabre use of a still relatively unfamiliar set of demons and ghouls.
To Tokyo scores high on dreamy-bordering-on-nightmarish atmosphere. On learning her mother is gravely ill, Alice (Florence Kosky) passes into either a fugue state or an actual wilderness that encompasses forests, deserts and a mountainside hut where she slaps on warpaint and...
Here’s one of those rare lowish-budget, entirely off-radar British debuts that feels like a discovery. Adventurous writer-director Caspar Seale Jones has relocated a stock horror starting point – fraught young woman fleeing something abominable in her past – to Japan, which instantly gifts his frames more distinctive vistas than all those potboilers pursuing teenagers through the streets of Peterborough or Stroud. More intriguingly, To Tokyo is in that Japanese folk-horror tradition that yielded Onibaba and Kwaidan, making merry-macabre use of a still relatively unfamiliar set of demons and ghouls.
To Tokyo scores high on dreamy-bordering-on-nightmarish atmosphere. On learning her mother is gravely ill, Alice (Florence Kosky) passes into either a fugue state or an actual wilderness that encompasses forests, deserts and a mountainside hut where she slaps on warpaint and...
- 9/25/2019
- by Mike McCahill
- The Guardian - Film News
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