FRONTIÈRES@FANTASIA ANNOUNCES A SECOND WAVE OF PROJECTS

Frontières connects North America with Europe in an environment specifically focused on genre film production and financing. Frontières marks its return to Fantasia with an expanded project line-up that includes a new partnership with Raven Banner Entertainment.

Following the announcement of a first wave of projects, Frontières is pleased to announce an additional 14 projects from a strong cross-section of experienced and emerging directors and producers from across North America and Europe, including the feature-length directorial debuts of Roxanne Benjamin (SOUTHBOUND) and producer Jenn Wexler (DARLING), as well as the next project from director-writer Gabriel Carrer (THE DEMOLISHER), and director George Mihalka (MY BLOODY VALENTINE).

For the first time, Frontières is pleased to co-present a slate of projects in development from Canadian production, sales and distribution house Raven Banner Entertainment. The showcase will feature project pitches and trailer premieres of upcoming titles.

These projects join a line-up of previously announced titles including  HOUSE OF PSYCHOTIC WOMEN, a TV series from producer Andy Starke (SIGHTSEERS, THE DUKE OF BURGUNDY, THE GREASY STRANGLER) , based on the book by Canadian author Kier-la Janisse,  The line-up also includes film projects in development from director Brian O'Malley (LET US PREY), directors Yoav & Doron Paz (JERUZALEM), director Alexandre Franchi (THE WILD HUNT)

Frontières@Fantasia 2016: Second Wave of Projects

40 MANIACS  (Canada/France)
Director/Writer: Alexandre Jousse
Producers: Luc Châtelain, Stéphanie Pages (Echo Media), Thierry Marro (Memento Productions)

DARK COMPASS (Germany)
Director: Dominik Hartl
Writer: Raven Burnett
Producers: Esther Friedrich, Alex Weimer (MovieBrats Pictures GmbH)

HEAD SMASHED IN BUFFALO JUMP (Canada)
Director: George Mihalka
Writer:  David Jones
Producers: James Margellos, Bill Marks, George Mihalka (Sollergram Pictures, Vortex Words+Pictures, QVM Inc)

HIGH SCHOOL BRAWL (Canada)
Director: Aaron Kurmey
Writers: Ryan Hatt & Kevin Johnson
Producer: Sean Buckley (Buck Productions)
Executive Producers: J. Joly & Brian Wideen (Coup Company)

JUDAS PRIEST (Working Title) (Canada)
Director/Writer: Lee Ventura
Producer: Kris Elsley (Spiral Entertainment Ltd.)

THE RANGER (USA)
Director: Jenn Wexler
Writers: Jenn Wexler & Giaco Furino
Producers:  Larry Fessenden, Peter Phok (Glass Eye Pix)

SAVANT (Spain)
Director: Javi Araguz
Writers: Javi Araguz & Isabel Hierro
Producer: Jesus Sans (Freemind Arts Entertainment)

STOCKHOLM ZOMBIES (Sweden)
Directors: Bonita Drake & Johan Bromander
Writers: Bonita Drake & Johan Bromander
Producers: Bonita Drake & David Ball (Cwmpas Cymru Creative)

THE STOMACH (UK)
Director/Wrter: Ben Steiner
Producer: Dan Dixon (FUME FILMS)

SUSPICIONS (UK)
Director/Writer: Alexandre Birrell
Producer: Katie Crook (Blue Iris Films)

WE SUMMON THE DARKNESS  (USA)
Director: Roxanne Benjamin
Writer: Alan Trezza
Producer: Christian Armogida (Nightshade Entertainment)

Raven Banner Showcase

"We at Raven Banner love how we have grown along with Frontières over the years. We're thrilled to share progress on projects from previous Frontières markets Raven Banner has gotten involved with, introduce new projects to be pitched, and provide a sneak peek some exciting up and coming titles soon to hit the market. We couldn't think of a better showcase to continue to be a part of.” - James Fler, Managing Partner

PORTAL TO HELL!!! (Canada)
Director: Vivieno Caldinelli
Writers: Matt Watts and Vivieno Caldinelli
Producers: Andrew Rosen and Ryan Reaney (Aircraft Pictures)

SANCTUM (Canada)
Director/Writer: Jerry Pyle
Producer: Hugues Barbier, Raven Banner Entertainment

VENTABLVCK (Canada)

Director/Writer: Gabriel Carrer

Producers: Gabriel Carrer, Christian Burgess, Scott McIntyre (Latefox Pictures Inc. & Smak Motion Studios Inc.)

For more info visit http://frontieresmarket.com/ 

Australia’s MONSTER FEST Announces 2016 Poster and Programmers Announces 2016 Poster and Programmers

Australia’s MONSTER FEST Announces 2016 Poster and Programmers

www.monsterfest.com.au

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Monster Fest, Australia’s premier festival of cult, horror and the fantastic, returns for its sixth edition November 24-27, 2016 at the Lido Cinemas in Melbourne, with support from Screen Australia and Film Victoria – and they’ve just unveiled a poster to die for.

Illustrated by Canadian artist Matt Ryan Tobin, the 2016 poster ties in with this year’s theme of ‘ritual’; In particular, it points to our ritualistic relationship to screens of all sizes, which is especially relevant in a festival context. “We fell in love with Matt’s alternative posters for Suspiria, Halloween III, Nightcrawler and more,” says Festival Director Kier-La Janisse, “We knew he could do something witchy that also tied into notions of broadcasting, screen ubiquity and ‘infected’ channels that invoke audiences to join the Cult of Monster.”

Along with this year’s addition of Janisse as Festival Director (author of House of Psychotic Women, founder of the Miskatonic Institute of Horror Studies and Spectacular Optical Publications), Monster Fest 2016 boasts an impressive programming team that includes festival co-founder and head of Monster Pictures acquisitions Neil Foley, LA punk legend, author and longtime programmer for the American Cinematheque Chris D. (The Flesh Eaters, Gun and Sword: An Encyclopedia of Japanese Gangster Films 1955-1980), renowned genre film scholar and author Alexandra Heller-Nicholas (Rape Revenge Films: A Critical History), crime writer and pulp fiction expert Andrew Nette (Beat Girls, Love Tribes and Real Cool Cats: Pulp Fiction and Youth Culture from the 1950s to the 1980s), film scholar and archivist Dean Brandum (Technicolor Yawn), filmmaker and curator Hussein Khoder (ex-Melbourne Underground Film Festival), media researcher Catherine Seccombe (ABC) and the lovably shambolic ‘Trasharama’ programmer, Dick Dale. Their full bios follow below.

“I’m really excited about having someone of Chris D’s stature join the team this year,” says Janisse. “He’s got exquisite taste and brings a wealth of experience to the festival. Not to mention our returning shorts programmers and the dynamic duo of Andrew Nette and Dean Brandum, who are delving into the depths of cinema obscura to bring us the strongest repertory programming of any Monster Fest to date.”

Monster Fest 2016 will feature highly anticipated Australian premieres alongside festival favourites and repertory classics, with international special guests, industry panels and events, exhibitions, vendor booths, parties and more to be announced in the coming months. The festival was established in 2011 by Neil Foley and Grant Hardie as the exhibition arm of Monster Pictures, and since that time has garnered a reputation for showcasing some of the finest new independent genre films in the world, giving Australian audiences an opportunity to experience them on the big screen, both at the annual festival in Melbourne and at satellite events throughout Australia year round.

Submissions for Monster Fest 2016 are open until August 12, 2016 for Features, Short Films and Expanded Cinema Projects. Submissions for Monster Fest 2016 can be processed via Film Freeway, Without a Box and Film Festival Life. Details and submission guidelines are available at www.monsterfest.com.au  

MONSTER FEST 2016 PROGRAMMING TEAM:

Kier-La Janisse
Festival Director and Head Programmer

Kier-La Janisse is a film writer and programmer, Editor-in-Chief of Spectacular Optical Publications, founding director of The Miskatonic Institute of Horror Studies and the Festival Director of Monster Fest in Melbourne, Australia. She has been a programmer for the Alamo Drafthouse Cinema and Fantastic Fest in Austin, Texas, co-founded Montreal microcinema Blue Sunshine, founded the CineMuerte Horror Film Festival (1999-2005) in Vancouver and was the subject of the documentary Celluloid Horror (2005). She has written for Incite: Journal of Experimental Media, Filmmaker, Offscreen, Shindig!, Rue Morgue and Fangoria magazines, has contributed toDestroy All Movies!! The Complete Guide to Punks on Film (Fantagraphics, 2011), and is the author of A Violent Professional: The Films of Luciano Rossi (FAB Press, 2007) and House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (FAB Press, 2012). She co-edited and published the anthology books KID POWER! about kids in cult film and television and Satanic Panic: Pop-Cultural Paranoia in the 1980s. She is currently working on the book A Song From the Heart Beats the Devil Every Time about children’s programming from 1965-1985 and a monograph about Monte Hellman'sCockfighter.
Neil Foley
Official Competition Programmer

Neil has worked in various roles within the entertainment industry since graduating from RMIT Media Arts in 1993, which ultimately resulted in him producing his first feature film in 1998  'BIGGER THAN TINA' which was released theatrically by Palace Films. In the following years he has worked in various roles within the industry. In 2007 Neil and Grant Hardie began working for Melbourne based film distribution company Force Entertainment. In 2010 in partnership with Tony Romeo CEO of Force Entertainment - Neil and Grant Hardie established the label Monster Pictures. Since 2010, Neil and Grant Hardie have worked together to turn Monster Pictures into Australia's foremost genre distribution company. In 2014 Neil and Grant Hardie took over as owners and directors of Monster Pictures. During this time they also launched Monster Fest which is now in its 6th year.

Chris D.
Official Competition Programmer

Chris D. (aka Chris Desjardins) received an MFA in Communication Arts (emphasis Screenwriting) from Loyola Marymount University in Los Angeles in 1977 and became involved in the Los Angeles punk scene as a writer for Slash magazine later that same year. He was an A&R rep and in-house producer at Slash Records/Ruby Records from 1980-1984. He is also known as the singer/songwriter of the bands The Flesh Eaters, Divine Horsemen and Stone by Stone. He saw release of his first feature film as director, I PASS FOR HUMAN, in 2004 (and its DVD release in 2006), and worked as a programmer at The American Cinematheque in Hollywood, California from 1999-2009. His groundbreaking study on 1960s-1970s Japanese genre filmmakers, OUTLAW MASTERS OF JAPANESE FILM, was published by IB Tauris in 2005. Chris also taught film genre history courses, includingEvolution of the Horror Film and Examining Film Noir, at Academy of Art University in San Francisco between 2009 – 2013. His anthology A MINUTE TO PRAY, A SECOND TO DIE, a 500 page collection of all of his poetry and song lyrics, plus dream journal entries was published in December, 2009. He wrote chapters on Joseph Losey and Otto Preminger in FILM NOIR: THE DIRECTORS, edited by Alain Silver & James Ursini, from Limelight Editions in 2012. Between 2010 – 2013, Chris D. published 5 novels and a short story collection, and April 2013 saw the release of his 800 page non-fiction GUN AND SWORD: An Encyclopedia of Japanese Gangster Films 1955-1980, all from Poison Fang Books. He is also the author of a chapter (“Punk as a Young Adult”) in the UNDER THE BIG BLACK SUN book by John Doe & Tom DeSavia, published in April, 2016 by DeCapo Press.

Alexandra Heller-Nicholas
Shorts Programmer

Alexandra Heller-Nicholas is a writer and award-winning film critic. She is a co-host on the Triple R film criticism programme Plato’s Cave and a co-editor of the journal Senses of Cinema. Alex writes books on horror and cult film, including Rape-Revenge Films: A Critical Study (2011), Found Footage Horror Films: Fear and the Appearance of Reality (2014), Devil’s Advocates: Suspiria (2015) and Cultographies: Ms. 45 (2017), and has written forMetro Magazine, Scream Magazine, Overland Literary Journal, Radio National, Bright Lights Film Journal, 4:3 and Kill Your Darlings.

Catherine Seccombe
Shorts Programmer

Catherine has been in love with horror and genre film and TV since the age of 7, when a dodgy babysitter let her rent whatever she wanted from the video store and she proceeded to work her way through the shelves, cover by lurid cover. Since completing a Cinema Studies degree, Catherine has worked in film preservation and archival research at the National Film and Sound Archive, content acquisition and programming at SBS Television, theatrical distribution with Madman Entertainment and program research at ABC Television. She was the Monster Fest 2014 Shorts Director and head shorts programmer and is very excited to be involved again in 2016.

Hussein Khoder
Shorts Programmer

Hussein Khoder is a filmmaker and festival programmer from Melbourne, Australia. When he is not sucking in as much knowledge as possible from all the films he watches, he works on any film he can get on. While still in film school he joined the Melbourne Underground Film Festival, where he held the position of assistant director and short film curator from 2012-2014. Monster Fest 2016 is his second year as a short film curator for Monster Fest.

Andrew Nette
2016 Guest Programmer

Andrew Nette is a writer of fiction and non-fiction, with an interest in film and Australian television. His articles and reviews have appeared in a number of print and on-line sites. He is the author of two crime novels, Ghost Money, a crime story set in Cambodia in the mid-nineties, and Gunshine State, out in the second half of 2016.  He is co-editor of Beat Girls, Love Tribes and Real Cool Cats: Pulp Fiction and Youth Culture, from the 1950s - 1980s. His online home is www.pulpcurry.com. You can find him on Twitter at @Pulpcurry.

Dean Brandum
2016 Guest Programmer

Dean Brandum achieved his PhD in 2016, focusing on a new methodology for interpreting historical box office data. He has taught at a number of universities in Melbourne and has contributed to various books, magazines and journals. Although his interests cover the gamut of cinema – from sexploitation to classical Hollywood, his prime interest lies in the history of film exhibition. As a collector of memorabilia and ephemera, his website,www.technicolouryawn.com examines how films were exhibited in Melbourne. Currently he is working on the first issue of a spin-off magazine devoted to the topic.
Dick Dale
Trasharama Programmer

Dick Dale has been creating short award-winning filthy films since 1993.  In 1997 he founded Trasharama, the nastiest film program in Oz, sourcing the most sick and twisted, goriest, bad taste horror shorts on Earth. Spawned in a local rock dive followed by punk acts, it now premieres at Monster Fest annually and tours Australia as the 'Roadkill Roadtrip tour'. Dick’s other activities include being Trasharama MC, punk rock vocalist, spoken word artist, film reviewer, roadie and worst barman. He is currently producing and directing Australia's first Splatter Punk video nasty feature film, Ribspreader, which he wrote.

Terror Time: A Clip from Sinster (2012)

my thoughts on.... 'The Witch' (2015)

As with all of my reviews of films for The Creepercast, I fully recommend that you check each and every one of them out. I am one man and this is my opinion. I've seen plenty of movies that received reviews that were the complete opposite of how I saw the film. These writers, directors, producers and actors all put a lot of time and love into these projects. They deserve to be seen and appreciated for what they are. Everyone has a dream and I fully support the people that take the time to make theirs a reality. With that being said....

When you go see a horror film, there is a certain expectation. Not that this is a bad thing, but you go into it with the knowledge that there is a road tested formula that will most likely be executed again, to satisfy the masses. However, every once in a while, you come across something different. Something that kind of sets you on your ear. A piece of film making that dismantles your expectations and provides you with something new and unexpected. 'The Witch' is one of those types of films and within the first 5 minutes, I could already tell that I was in for something out of the norm.

To begin, you should know that I've never been a fan of “witch” films. Outside of the 3 witches that haunted Shakespeare's writings or the ones from 'The Wizard of Oz', I never felt a connection with the concept or characterization. Perhaps it was something about the way they were portrayed or just a lack of originality in the style in which they have been presented over the past several decades? Not unlike the werewolf genre, the witch has no draw for me to the cinema. 'Lords of Salem' is the only film in the past decade that caught my attention and made me eager to see what Rob Zombie had to offer to the genre.... but that's a different review.

'The Witch' is the directorial debut of Robert Eggers. A man who did not want to wade into the deep end of the pool slowly, he made sure that he was going to leave an impression on the film goers who ventured in to see his maiden voyage. This film also doesn't rely on well know celebrities and instead stars several lesser known actors and actresses, which lends more credibility to the story line. The films takes place during the 1630's and tells the story of a family of 7, who are starting a new life, out in the newly settled Americas. It's been rough, so far, attempting to settle an area with very little to live on and so many mouths to feed. Meanwhile, there is a legend of a witch that lives in the forest behind their homestead, which is making things more difficult. It's not long before the youngest of the family disappears, while being watched by the oldest daughter, Thomasin. Unable to find him, the family slowly begins to suspect that he's been taken by the evil that dwells in the forest. Being strong and devout Christians, they pray for a swift return and denounce the devil in the woods. Soon, a long shadow begins stretch across the family as the next two youngest children accuse Thomasin of being a witch. When the second oldest son, Caleb, goes missing, the family realizes that their worst fear may be a reality. From that point on, things spin out into a downward spiral that you have to live through with the family, so I won't provide any additional spoilers here.

So what sets apart this film from so many others? A lot, actually. First of all, the cinematography is extremely well done and thought out. Granted, I highly suggest that you watch this is a completely dark room, in order to appreciate the subtleties that Mr. Eggers was going for. It is almost too dark at times and I feel that this was a stylistic choice that he made, to increase the feeling that you're there with the family, as they're going through this terrifying ordeal. There is also a very keen use of music and sounds. With so little that actually takes place in the story, it's key to use other things to keep the viewer interested and to convey the sense of oncoming dread and horror. The next thing that really sets this apart, is the dialogue. It may just be the one thing that keeps this from ever being more than a genre piece or a highly regarded horror show. It's so difficult to understand the characters and to catch on to the manner of speaking at the time, that it almost detracts the viewer from the experience. But, by that same token, it immerses you that much more into the world that he has created. This isn't a period piece with a modern twist. 'The Witch' is a full on representation of what it was like at that time, not only visually, but verbally as well as spiritually. The family of settlers relies on religion for everything and this is as much of a curse as it is a blessing. I, personally, found the script to be very hard to understand at first. It's such a jarring thing to hear how they structure a sentence and the words that they use. Even by the end of the film, I was struggling to make out what was happening. It's a bit of a shock to me that Hollywood put so much support behind something that was so incredibly niche. That's a good thing, however, to think that maybe it's not all about the bottom line. Not that this film is bad or undeserving of any praise. It's just a shock that something that has such limited appeal, would be pushed so hard on the average movie goer. Please don't let that be a reason to avoid this film. I just feel that it's better to be prepared for what you're about to see, than to be turned off by it.

All in all, 'The Witch' truly stands alone in amongst all the other horror that's come out recently. I can honestly say that I don't know if I'll ever need to see it again, but I'm glad that I gave it a chance. It was an experience that I recommended to anyone who feels that they've seen it all, in terms of horror films. From beginning to end, it's a very slow burn that I'm not entirely sure pays off as much as it could have. However, I also don't know what else could have been done to improve upon the completed product. It set out to portray life in another time and in the truest way possible. I think the one thing that made the film stick with me the most, was what happened right before the credits. There was a couple of paragraphs that flashed on the screen and said something to the effect of, “This film is the composite of actual stories of witchcraft during this time period.” There was more to it than that, but that's the basic breakdown. This little bit of knowledge, after the film was done, made me want to go back through the entire film and watch it again with a fresh pair of eyes. The real horror was in the fact that people believed these tales and that people were persecuted because of it. That's the scariest part of all. These stories were true. Not that the events actually happened, but that word of mouth could create such terror in a time that already had so much uncertainty. It left an impression on me and gave me a different way at looking at a time in our countries past. One that couldn't have been done the same way, in any other genre. So for that, kudos Robert Eggers, for doing something original and not letting anyone tamper with the way you wanted to present it to the audience. That, alone, was worth the price of admission. In terms of entertainment, I give it 3 out of 5 stars, but in terms of it's place in horror history.... I give it 4 out of 5 stars. Watch it, at least, once. You won't regret it. Just be sure to do it in the dark, with no distractions.

If you like this, also check out: 'The Lords of Salem', 'The Blair Witch Project' and 'Sleepy Hollow'

my thoughts on.... 'The Lashman' (an original Creepercast site review)

As with all of my reviews of the independent films that we get sent here at The Creepercast, I fully recommend that you check each and every one of them out. I am one man and this is my opinion. I've seen plenty of movies that received reviews that were the complete opposite of how I saw the film. These writers, directors, producers and actors all put a lot of time and love into these projects. They deserve to be seen and appreciate for what they are. Everyone has a dream and I fully support the people that take the time to make theirs a reality. With that being said....
I don't remember the first horror movie I ever watched, but my earliest memories them are from the monster magazines that used to sit in a forgotten box in the family room closet. A full page ad for 'Motel Hell' or a special effects article on 'Friday the 13th', I grew up on slasher films. They were everywhere in the 80's, you couldn't escape them.... just like you couldn't escape Michael Myers. For me they've always been the workingman's horror style. Simple, clean and brutal. There was never any need for a huge exposition on why the killer was killing or an elaborate plot to massacre the teenagers. It was all about sex, drugs and mayhem. If you had a mask, a distinct weapon and possibly a holiday to trigger your killing spree, then you had all the makings of a decent slasher film. It wasn't rocket science.
Over the years though, the art form was lost. It seemed that writers and directors kept wanting to re-invent the wheel. The problem is, why would you try and improve upon something that was already proven and tested and practically perfect? I get the Wes Craven methodology of wanting to breathe life in the genre and doing it by making it self aware. However, you can't over think a slasher movie, otherwise it'll lose the one thing that makes it a slasher.... simplicity. There's always exceptions to every rule and I fully understand this. Anyway, I've spent far too much time explaining my feelings on this particular genre of horror, but I wanted you to understand that I have a particular love of these types of movies. I always have. The only other horror genre I love more, is the zombie movie. But I'll save that discussion for another review.

'The Lashman' is an independent slasher movie written, directed and produced by Cameron McCasland. It's a simple throwback to the time when you had a handful of “teenagers”, a masked killer and a weekend in the woods. I've started to see these types of nostalgia movies popping up left and right in the past few years. People are going back to the well to appeal to the long since repressed memories of the movies we grew up with. The ones that we used to watch on VHS and hope that our mom didn't catch us or that the tracking would hold out during the upcoming sex scene. Cameron has filled this movie with references to the movies that came before. Like the crazy man in the beginning of the movie that's warning the kids about The Lashman. Not unlike Crazy Ralph from the original 1980 classic 'Friday the 13th', as played brilliantly by the late Walt Gorney. Or the scene where Jan looks out at Billy and asks him, “See something you like?” just like PJ Soles did in 'Halloween' (1978). These are just a couple of example's, but they're littered throughout the movie and I can appreciate Cameron for all the time and effort and subtle nods to each and every one of them.
The plot of 'The Lashman' is pretty straight forward and about as basic as you can get. 5 young people head out into the woods to spend the weekend at a cabin, where they plan on drinking and having sex. Once they get there, Billy tells them all a story about a madman nicknamed 'The Lashman'. A deranged killer who had been stalking the woods ever since he was beaten to near death with a whip, but was saved by a gypsy who gave him powers to seek revenge against those who'd wrongly wanted to kill him. The campers all take it at face value and think of it as just another local urban legend. What they don't realize is that The Lashman is all too real. He's already killed and is ready to kill again.

The movie opens with a couple being killed, but leaves us with very little clue as to how or why. From that point forward, it's about an hour before any more killing occurs. Before you dismiss this movie outright for not delivering a steady body count, let's take into consideration that Cameron is using all of this time to establish his characters. Given them each a personality and a back story, so that when they're killed.... you might actually care about them. Sadly, the constant talk and massive amount of time spent building up to the climax, made me lose interest in the characters that I was supposed to be caring about. I honestly think the movie would have played better, if there would have been some random slayings leading up to the finale. Nice idea, poorly executed. I think it fails because of the poorly written script and because of the wooden acting. Everyone seems as though they're doing a table read in the woods. 'The Lashman' also suffers from some serious pacing issues. It stutters and makes it difficult to get into the characters and scenes. A big chunk of this is due to the almost non-stop sound issues. I understand that it's a low budget movie and you have limited resources to work with, but Cameron's been making movies since 2008.... I would expect him to know better by now? Also, I'm not sure if the use of shaky cam was the best idea. It makes a movie, that was already showing it's amateur pedigree, even more low budget.
Despite the problems with this movie, it also has some good things going for it too. Cameron has a firm grasp on what needs to be done behind the camera to make professional looking establishing shots. It's very well filmed and edited together. That's one of the few things that kept my attention the whole way through. He also has a fairly compelling background story for 'The Lashman'. Sadly, the character himself is massively underwhelming. He's basically a reject from the cast of 'Tombstone', with bloody bandages over his face.... in a duster. How could this ever be scary or menacing? I have no clue. Perhaps the thought process was based about his weapon of choice, the bullwhip. This was supposed to be the hook, the thing that set this one apart from all the others. Too bad this weapon doesn't lend itself well to the slasher genre. Maybe if the whole thing was treated more as a satire, then I would have gotten the joke. The idea of a slasher, with no weapon for actual slashing. Irony perhaps?

In the end, 'The Lashman' leaves more to be desired than to be praised. I give Cameron credit for bringing his vision to life and making the movie he set out to make, but I'm left feeling like I deserved a deformed killer in a mask. If this is truly going to be a throwback to a simpler time, then give us the killer we expect and deserve. Not just a man who looks like a cross between 'Darkman' and the Marlboro Man. I'd give this movie 2 out of 5 stars. Both of which are for his cinematography and effort, not for the end result. 'The Lashman' doesn't need or deserve a sequel, but it's set up in the end for one anyway. I'm hoping the gypsy curse will wear off long before then.
Oh, yes.... one final thing. If you've going to have your lead actress scream at the end, make sure she keeps screaming until you say, “Cut!” or edit the shot so it looks like she's screaming until the credits roll. That is all.

If you want other original 80's slashers, check out: 'The Burning', 'Friday the 13th' (1980) or 'Madman' (1982) also if you want an amazing series of over the top 80's throwbacks? Watch the 'Hatchet' trilogy.

A Terror Time Out: Sinister (2012)

A definitively creepy film with a villain you almost can't help but love.

MARILYN MANSON, SHINSUKE SATO, AND KEVIN SMITH AMONG FEST GUESTS AS FANTASIA REVEALS AN EXCITING SECOND WAVE OF TITLES!

Fest to open with World Premieres of KING DAVE and KICKBOXER: VENGEANCE! Polish Spotlight, Camera Lucida, Fantasia Underground, and more announced!

Opening Film: THE WORLD PREMIERE OF DANIEL GROU’S KING DAVE

Violence, heartache and betrayal lie ahead when Dave (MOMMY’s Alexandre Goyette) gets caught up in a calamitous situation, driven by an unstoppable momentum. A tale told in a breathless rush, captured in a single tracking shot by celebrated Quebecois filmmaker Daniel “Podz” Grou (7 DAYS, 10 1/2, MIRACULUM). Also starring Karelle Tremblay and Mylène St-Sauveur.

Additional Opening Night Attraction: THE WORLD PREMIERE OF JOHN STOCKWELL’S KICKBOXER: VENGEANCE

Re-launching the KICKBOXER franchise, this blistering new film boasts Canadian actor Alain Moussi in the lead and Jean-Claude Van Damme as a muay thai teacher with unconventional methods. Georges St-Pierre and Dave Bautista also star. Directed by John Stockwell (TURISTAS, INTO THE BLUE).

 

MARILYN MANSON WILL MAKE YOU A MARTYR

Trailblazing musician and multimedia artist Marilyn Mason will be coming to Fantasia to present the World Premiere of Corey Asraf & John Swab’s gripping and poetic modern Noir LET ME MAKE YOU A MARTYR. Manson is a producer on the film and co-stars alongside Mark Boone Junior, Niko Nicotera, Sam Quartin, and Michael Potts.

KEVIN SMITH WILL YOGA YOU A HOSER

Indie iconoclast Kevin Smith will be coming to Fantasia for a special evening with his uniquely Quebec-centric comedy YOGA HOSERS, the second entry in the filmmaker’s inspired “True North” trilogy centered around outrageously kooky and inventively hallucinatory happenings in our Canuckian neck of the woods.

© 2015“Library Wars -LM-”Movie Project

SHINSUKE SATO IS COMING TO FANTASIA WITH LIBRARY WARS: THE LAST MISSION

Shinsuke Sato is one of the most versatile directors in Japan, excelling as the Co-Writer-Director of a family oriented animation film like OBLIVIOUS ISLAND: HARUKA AND THE MAGIC MIRROR (Special Mention at Fantasia 2010) as much as he does at the helm of thrilling gore fest like I AM A HERO. The festival will have the pleasure of welcoming Director Sato again with the Canadian Premiere of LIBRARY WARS: THE LAST MISSION, part of our Action! section, where paramilitary thrills, comical flourishes and powerful philosophical challenges pervade this sequel to the 2013 Fantasia hit.

THE WORLD PREMIERE OF NICK GILLESPIE’S BEN WHEATLEY-PRODUCED TANK 432

A military mission goes deadly wrong when a group of soldiers find themselves stalked by invisible enemies. Co-produced by Ben Wheatley (A FIELD IN ENGLAND, HIGH RISE), Nick Gillespie's TANK 432 is a gripping and fascinating unnatural thriller where the lines between reality and nightmares dissolve to make room for an exploration into chaos. One of the highlights of the 2016 edition of Fantasia's Camera Lucida section (full lineup announced later in this release).

SLEEP NO MORE AS WE UNCOVER MIKE FLANAGAN’S BEFORE I WAKE

Fantasia was among the first festivals to introduce the world to the brilliance of Mike Flanagan (OCCULUS, HUSH) with our screening of the filmmaker’s instant-classic debut ABSENTIA. We’re thrilled to be bringing him back with a special screening of his eerie and poetic horror/fantasy BEFORE I WAKE, starring Jacob Tremblay (ROOM) as a troubled orphan whose dreams spill out into the real-world environment around him when he sleeps – as do his nightmares. Also starring Kate Bosworth, Thomas Jane, and Annabeth Gish.

JACKIE CHAN RETURNS TO THE FANTASIA SCREEN WITH SKIPTRACE

A beloved figure on the Fantasia screen since the festival’s 1996 inception, Jackie Chan will always hold a special place here. We’re pleased to be presenting the North American premiere of his latest film, Renny Harlin’s SKIPTRACE, in which a detective from Hong Kong teams up with an American gambler (Johnny Knoxville) to battle against a notorious Chinese criminal. Also starring Fan Bingbing, Eric Tsang and Michael Wong.

ADAM NIMOY WILL HOST THE INTERNATIONAL PREMIERE OF FOR THE LOVE OF SPOCK

Arriving at Warp Speed to welcome STAR TREK’s 50th anniversary, FOR THE LOVE OF SPOCK celebrates the enduring series by focusing on the franchise’s most popular character and the man who played him. Directed and narrated by Adam Nimoy, this fascinating doc offers a personal, intimate look at the life and livelihood of his late father, beloved actor Leonard Nimoy, and his iconic alter-ego, Mr. Spock. Official Selection: Tribeca Film Festival 2016

© 2016 Toho Co. Ltd. / Hakuhodo DY Media Partners Inc. / Shogakukan Inc. / Amuse Inc. / Cross Company Inc. / Magazine House Co., Ltd. / Lawson HMV Entertainment , Inc. / Sony Music Entertainment (Japan) Inc. / KDDI Corporation / GYAO Corporation / Nippon Shuppan Hanbai Inc.

IF CATS DISAPPEARED FROM THE WORLD

A terminally-ill postman with days to live meets the Devil in the guise of his double, who offers him an extra day of life for each thing, linking him to his loved ones, that is forever removed from the surface of the Earth. A poignant Faustian tale full of both sadness and light. Make no mistake, Akira Nagai's IF CATS DISAPPEARED FROM THE WORLD, presented in Canadian Premiere, is among the finest jewels of Fantasia’s 2016 programming and one of the most touching films you will encounter anywhere this year.

THE NORTH AMERICAN PREMIERE OF KIKE MAILLO’S TORO

Kike Maillo created quite a stir on the festival circuit in 2011 with the Goya-awarded sci-fi film EVA. For his second feature, he brings us a super-realist action film, highly stylized, cleverly written and flawlessly directed, starring Mario Casas (UNIT 7) and Luis Tosar (SLEEP TIGHT).

AN OUTSIDER ROMANCE TOLD UNROMANTICALLY: SOME FREAKS

A rare teen film about outsiders that actually understands them, playwright Ian McAllister-McDonald’s SOME FREAKS (World Premiere) depicts a sweet yet wounding romance between a one-eyed boy (Thomas Mann) and a large girl (Lily Mae Harrington) who come together from shared experiences as high school outcasts. Funny, honest and caustic, this film will charm your heart – and demolish it. Co-executive produced by Neil LaBute.


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SPOTLIGHT ON POLISH GENRE CINEMA

In tribute to the passing of the great Andrzej Zulawski earlier this year, Fantasia will be presenting a special showcase of Polish genre cinema. Presented in collaboration with the Polish Film Institute, our series will screen four masterpieces of provocative, individualistic filmmaking, three contemporary, one nearly-lost classic in vividly restored new light.

DEMON
Poland — Dir: Marcin Wrona

This festival favorite offers an ingenious twist on Jewish folklore and myth. Tackling complex ideas — whether the feeling of confronting life’s big changes, or of the lurking national and political histories that bubble to the surface once families are united under the same roof — DEMON is dense with illuminating metaphors, and rich with moments of unsettlingly quiet horror. Official Selection: Toronto International Film Festival 2015, Hong Kong International Film Festival 2016.  Quebec Premiere

I, OLGA HEPNAROVA
Czech Republic-Poland-Slovakia — Dirs: Petr Kazda, Tomas Weinreb

On July 10, 1973, 22-year-old Olga Hepnarová drove a truck into a group of 25 strangers, setting in motion a tragic conclusion to a lonely young life of alienation and rage. A bracingly powerful and tough-minded true story featuring a haunting lead performance by the incredible Michalina Olszanska (THE LURE). Official Selection: Berlin International Film Festival 2016. North American Premiere.

THE LURE
Poland — Dir: Agnieszka Smoczynska

Heart-eating sister sirens from the sea join an erotic cabaret in the disco mermaid stripper horror/musical/comedy/drama/romance/coming-of-age adult fable you’ve been waiting your entire life for.  A singular masterpiece of the unconventional, THE LURE is an exhilaratingly cool act of filmmaking whose charms are impossible to resist. Official Selection: Sundance 2016, Luxembourg City Film Festival 2016. Quebec Premiere.

ON THE SILVER GLOBE (newly restored)
Poland — Dir: Andrzej Zulawski

Andrzej Zulawski’s long suppressed, now magnificently restored ON THE SILVER GLOBE (1977/1988) features some of the most bizarre and startling imagery ever committed to celluloid: heretics impaled on spikes, a mass underground orgy and (years before MAD MAX) a finned Cadillac screaming through the desert… Shortly before the end of filming, the project was shut down by the Polish Communist authorities. Almost a decade later, Zulawski was invited back to Poland to complete his broken masterpiece. Recently restored from the original camera negative, ON THE SILVER GLOBE presents a terrifying science fiction vision worlds apart from STAR WARS.


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CAMERA LUCIDA 2016

For its 7th edition, Camera Lucida once again showcases unique and groundbreaking perspectives on genre cinemas by taking its codes into new directions. Over a dozen titles from around the world have been selected to figure in our 2016 line-up, including festival favorites as well as exciting premieres from promising newcomers. Themes this year cover feminism, urban isolation, conspiracy theories and sexuality.


ALOYS
Switzerland / France — Dir: Tobias Nölle

In this urban fable, a lonely inspector sees his life turned upside down when a mysterious woman initiates him to « telephone walking », an unusual form of therapy. A rare example of audiovisual poetry, the bittersweet ALOYS could be compared to a melancholic variation on Jean-Pierre Jeunet's AMELIE. Official Selection, Berlin International Film Festival 2016.


L'ÉLAN
France — Dir: Étienne Labroue

The arrival of a humanoid being (an elk, with a big plush head) quickly creates havoc in a small French village. Part mockumentary, conspiracy theory and fantasy fable, this promising debut feature bursts with a refreshing originality. Official Selection: L'étrange festival de Paris 2015. Canadian Premiere.

SHELLEY
Denmark-Sweden — Dir: Ali Abbasi

A housekeeper finds a new job in an isolated house in the middle of wilderness. Once there, the two owners ask her to carry their child. Reminiscent of ROSEMARY'S BABY, this modern gothic chiller turns an intimate Bergman-like drama into one of the most surprising horror films of the year. Official Selection: Berlin International Film Festival 2016. North-American Premiere.


IF THERE'S A HELL BELOW (Closing Film: Camera Lucida)
USA — Dir: Nathan Williams

Believing to be on the story of the century, a journalist suddenly finds himself caught in a frantic game of cat and mouse. Quiet yet profoundly suspense, the Closing Film of Camera Lucida 2016 creates a climate of paranoia so paralyzing that it's almost asphyxiating. Official Selection: Slamdance Film Festival 2016. International Premiere.

THE INERASABLE
Japan — Dir. Yoshihiro Nakamura

A popular mystery writer and a young architecture student investigate a haunted apartment complex, in this clever deconstruction of J-horror tropes from prolific director Yoshihiro Nakamura (FISH STORY, THE SNOW WHITE MURDER CASE). Official Selection: Tokyo International Film Festival, Udine Far East Film Festival. Quebec Premiere.

THE WAILING (Opening Film: Camera Lucida)
South Korea — Dir. Na Hong-jin

A wave of gruesome murders is tearing the rural village of Goksung apart and its only weapons against these manifestations of pure evil are an incompetent cop, a shy deacon and an exuberant shaman. With the ambient horror thriller THE WAILING, the Opening Film of our Camera Lucida section and one of the most talked about films of Cannes 2016, Writer/Director Na Hong-jin confirm his place among the masters of Korean cinema. Official Selection: Cannes Film Festival 2016, Munich International Film Festival 2016. Quebec Premiere

Previously announced Camera Lucida titles: AMERICANA, EMBERS, OPERATION AVALANCHE, UNDER THE SHADOW, WE ARE THE FLESH


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FANTASIA UNDERGROUND 2016

Get set for unrestrained eccentricity and mountains of resourceful, raw talent as Fantasia Underground celebrates its third birthday, bringing a homeless street gang, a power-stripped middle-aged superhero, an alienated dog groomer in love and a whole lotta monsters to town for the party. 

PARASITES
USA — Dir: Chad Ferrin

Three college students find themselves lost and stranded on Skid Row when they get a flat tire and are captured by an angry homeless gang. Visceral, low-budget grittiness that pays homage to horror, westerns and ’80s action, playing like John Carpenter by way of Jim VanBebber.  World Premiere

SHE’S ALLERGIC TO CATS
USA — Dir: Michael Reich

In an era where we’re regularly seeing films calculated to be “weird” by design, here’s an intoxicatingly insane breath-of-fresh-air coming from a place so genuine and strange it cannot be faked. Is it a comedy? A horror film? A romance? A fever dream? Yes! An experimental observational comedy that doesn’t look or feel like anything else, this is one of the coolest discoveries of 2016.

SUPERPOWERLESS
USA — Dir: Duane Anderson

A former crime-fighter whose unnatural powers have waned, is plagued by midlife crisis. A witty, surprising and emotionally resonant film about aging, self-acceptance and legacy that brings a fresh perspective on the iconic superhero: you will believe that a man can fly, fall down and get back up again… Truly terrific.  World Premiere


THERAPY
France — Dir: Nathan Ambrosioni

Following the discovery of a home movie left by a pack of missing teenagers, two cops realized they must act quickly in order to save them from a murderous threat. Following the success of last year's HOSTILE, maverick young filmmaker Nathan Ambrosioni, now a weather-beaten 16 years of age, returns to Fantasia with a frightening and well-crafted new take on the found footage subgenre. World Premiere.

Previously announced Fantasia Underground title: ATMO HORROX


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Additional Second Wave Highlights:


ANOTHER EVIL
USA — Dir: Carson D. Mell

A couple whose vacation home is haunted enlist a hardcore exorcist — and the real problems begin. This parapsychological gem, the feature debut from Carson D. Mell, a writer on EASTBOUND & DOWN and SILICON VALLEY, is both a weird, intimate comedy and a different kind of haunted-house chiller. Official Selection: SXSW 2016. International Premiere


ANTIBIRTH
USA-Canada — Dir: Danny Perez

Natasha Lyonne, Chloe Sevigny, Meg Tilly and Mark Webber star in this twisted, surrealistic and grotesque tale of drug addiction and a very unusual kind of pregnancy that stunned audiences at Sundance earlier this year. Official Selection: Boston Underground Film Festival 2016


A BRIDE FOR RIP VAN WINKLE
Japan — Dir. Shunji Iwai

Nanami meets her husband on the Internet, and her life unravels into a complex network of artifice, strange jobs and deceitful relationships. An epic of alienation and love for the age of social media, from master Shunji Iwai (ALL ABOUT LILY CHOU-CHOU, VAMPIRE)! Official selection: Seattle International Film Festival 2016, New York Asian Film Festival 2016. Canadian Premiere


A CONSPIRACY OF FAITH
Denmark — Dir: Hans Petter Moland

A message in a bottle comes across the desk of a sleepy cold-case investigation unit in Denmark. It begins with the word ‘Help.’ An exhilaratingly chilling Nordic Noir starring the great Nikolaj Lie Kaas, A CONSPIRACY OF FAITH broke a 15-year Opening Weekend box office record in Denmark. Official Selection: Edinburgh International Film Festival 2016. Canadian Premiere.


THE DEVIL’S CANDY
USA — Dir: Sean Byrne

A vivid new take on the Satanic haunted-house thriller by way of a home-invasion siege nightmare, complete with a ferociously effective doom-metal sound design that will have the cinema’s walls shaking with demonic force to match director Byrne’s exhilarating storytelling chops. Official Selection: Toronto International Film Festival 2015, Fantastic Fest 2015. Quebec Premiere.


EYES OF MY MOTHER
USA — Dir: Nicolas Pesce

First-time writer/director Nicolas Pesce's B&W nightmare had everyone talking--and screaming--during its Sundance debut, and now makes its bloody mark on Fantasia. This rural horror show jangles the nerves from the get-go, when a lunatic arrives at the remote homestead of an odd family. But that's just the tip of this chilling iceberg that evokes Takashi Miike at his most disturbing and Terrence Malick at his most evocative. Canadian Premiere.


LAZY HAZY CRAZY
Hong Kong — Dir: Jody Luk Yee-Sum

An audacious and unsettling coming of age story of three girls reaching adulthood in Hong Kong from 1st time director Jody Luk Yee-Sum, a regular co-writer (LOVE IN THE BUFF & VULGARIA) for award winning director Pang Ho-Cheung (who also serves as producer). Official Selection: Tokyo Film Festival, Stockholm Film Festival, Five Flavors Film Festival, New York Asian Film Festival, Canadian Premiere.


THE LOVE WITCH
USA — Dir: Anna Biller

A modern-day witch uses spells and magic to get men to fall in love with her, in VIVA director Anna Biller’s tribute to 1960s pulp novels and Technicolor melodramas. Dazzlingly decked out in the filmmaker’s aesthetic signature of personally hand crafted costumes and art direction (Biller also scripted, edited and scored the film). Official Selection: Maryland Film Festival 2016, Edinburgh International Film Festival 2016. Canadian Premiere.


THE MASTER CLEANSE
USA — Dir: Bobby Miller

Heartbroken Paul (Johnny Galecki) joins an unusual spiritual retreat, where the approach to inner growth is perhaps a touch too literal. An intimately whimsical black comedy about personal baggage and the monsters it can become.  The long awaited feature debut from Bobby Miller, whose brilliant short TUB astonished audiences at Fantasia in 2010. Also starring Anna Friel, Kyle Gallner and Anjelica Huston. Official Selection: SXSW 2016. International Premiere.


SLASH
USA — Dir: Clay Liford

Teenagers Neil (Michael Johnston) and Julia (Hannah Marks) bond over their shared devotion to amateur, erotic fan fiction for sci-fi/fantasy geeks in this smart, empathic, often funny and always convincing coming-of-age drama. Official Selection: BAMCinemaFest 2016, Munich Film Festival 2016, Edinburgh International Film Festival 2016. Canadian Premiere. 8


TEENAGE COCKTAIL
USA — Dir: John Carchietta

Picture-perfect teens Annie (Nichole Bloom) and Jules (Fabianne Therese) are in love, and have made a plan. A cautionary tale of sorts about mad teenage love, growing up on the Internet, and the kind of poor decisions that characterize life lived to its fullest… or shortest. Also starring Pat Healy. Official Selection: SXSW 2016. International Premiere.


THREE
Hong Kong — Dir: Johnnie To

A Crook, a cop and a surgeon with dark secrets converge in a hospital leading to deadly results. Director Johnnie To returns to the action genre after a three-year hiatus! Filmed entirely in a hospital in Southern China and without a full script, To is back in full force, creating tense cat and mouse games and a thrilling climatic shoot-out that he can do so effortlessly with fresh vigor! Official Selection: Taipei Film Festival 2016. Quebec Premiere.


THE THRONE
South Korea – Dir. Lee Joon-ik

The horrible death of Prince Sado, condemned by his father King Yeongjo to die of thirst in a rice chest, is among most tragic events in Korea's history. Lee Joon-ik masterfully turns this national drama in an intimate family tragedy where the great Song Kang-ho and Yoo Ah-in lead stellar cast. A multiple award-winner, THE THRONE was South Korea's runner up for the latest Academy Awards. Official Selection: Hawaii International Film Festival 2015 and Tallinn Black Nights Film Festival 2016. Quebec Premiere


WHAT A WONDERFUL FAMILY!
Japan — Dir. Yoji Yamada

Living legend Yoji Yamada (TORA-SAN, TWILIGHT SAMURAI) reunites with the cast of his 2013 remake of Yasujiro Ozu’s TOKYO STORY for this comedic tour-de-force; a rip-roaring slapstick take on elderly divorce, and the generational gap that molds traditional values through time. Official Selection: Tokyo International Film Festival 2016, Hong Kong International Film Festival 2016. Canadian Premiere

 For more information, visit us on the web at www.fantasiafestival.com.