Film News (UK): Bad Milo! And The Cottage amongst nine Horror Channel prems for March.

Horror Channel presents nine fear-filled premieres in March including the UK TV premiere of BAD MILO!, Jacob Vaughan’s laugh-out-loud comedy horror blending sharp social satire with copious amounts of slimy gore. Broadcast on Fri 31 March at 11.20pm, BAD MILO! stars Ken Marino as normal nice guy Duncan, who discovers that a cute bloodthirsty creature is living in his lower intestines. Every time he gets stressed, it crawls out of his rectum to feed on the flesh of those riling him up. This was a huge hit at FrightFest in 2014.

Dark laughs also run amok on Fri 3 March at 10.55pm with the network premiere of Paul Andrew Williams’ blood-drenched hostage thriller THE COTTAGE, starring Andy Serkis, Reece Shearsmith and Jennifer Ellison. Feuding brothers David (Andy Serkis) and Peter (Reece Shearsmith) abduct a young woman (Jennifer Ellison) and hole up in a remote rural cottage, But their hostage turns the tables and soon it’s all for one when they find that the deranged farmer next door is the real threat. Hellraiser’s Doug Bradley makes a cameo in this terror treat.

There are also network premiere for Irish hit SCHROOMS, a stylish psychedelic shocker, directed by Paddy Breathnach (Fri 10 March, 11pm), ADRIFT, Hans Horn’s emotionally wrenching sail into terror (Fri 24 March, 9pm), Steve Barker’s atmospheric Nazi zombie thriller, OUTPOST (Sat 11 March, 10.50pm), Rob Schmidt’s cult cannibal chiller WRONG TURN (sat 25 March, 11pm) and Hammer’s THE CURSE OF THE MUMMY’S TOMB (Sat 4 March, 10.45pm).

Plus there are channel firsts for Dave Payne’s tongue-in-cheek horror romp REEKER, starring Michael Ironside (Fri 17 March, 9pm) and Nicholas Mastandrea’s vicious canine nail-biter THE BREED, produced by Wes Craven and starring Michelle Rodriguez (Sat 18 March, 9pm).

TV: Sky 319 / Virgin 149 / Freesat 138 | Freeview 70
www.horrorchannel.co.uk | twitter.com/horror_channel | facebook.com/horrorchannel

Press enquiries:
Greg Day, Clout Communications
greg@cloutcom.co.uk 07889 861646

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Ahead of the World Premiere of his latest film BLOODLANDS at Horror Channel FrightFest Glasgow, Steven Kastrissios discusses the challenges of making the world’s first Albanian / Australian horror film.

So what have you been doing in the eight years since making your amazing debut with THE HORSEMAN, a FrightFest favourite?

Writing. I was just 24 when I shot ‘The Horseman’ and it was only my second feature script, so I wanted to expand my horizons and I wrote many scripts in completely different genres and styles. I developed other little projects and came close to doing other features with other people’s scripts but for various reasons they fell through, usually over the script. I also stumbled into music and that bled into my film work too.

How did BLOODLANDS come about as the first Australian/Albanian collaboration?

Coffee with my Albanian-Australian friend, Dritan Arbana. He told me about the blood-feuds and I instantly saw an idea for a story and also importantly, how to make it a viable production with limited means. Dritan is an actor with no experience or desire to be a film producer, but I trusted him and anointed him as my producing-partner and two or three months after that coffee, we were in Albania prepping the shoot.

Why have the Albanians shied away from the genre up to now? Because their own history is so frightening?

I’m not Albanian, so I can’t answer this exactly, but from what the crew told me, they had a solid industry decades ago with the USSR influenced propaganda films, but their local industry has had limited opportunities since. They tend to like local comedies more and deal with the issue of blood-feuds as straight dramas, which there has been plenty. There were no stunt-coordinators, armourers, special-effects make-up artists we could find there, so limitations like that would make it difficult for any budding local genre filmmakers. I have a post-production background so I had the advantage of knowing how to design shots where we only had to do certain minimal things on-set, like very simple make-up, and the rest would be completed in post. We could do things safely too, like have real guns but no ammunition on set. Not even dummy cartridges. No explosive squibs too. All this stuff would be done through a subtle use of VFX.

When did you come across the legend of the Shtriga?

During my initial research. There’s various types of witches in the Albanian and Balkan cultures. There’s even a witch that will maim you if you waste bread, so they have a witch for everything there! And fortunately the Shtriga myth fitted perfectly with the backstory I had in mind for my witch.

Directing the movie in a foreign language? Much more difficult surely because you need to understand the performance shadings?

This was just another hurdle we had to jump through collectively, but people learn fast and adapt so it wasn’t a big problem and most of the cast/crew spoke English, so I had a team of translators around me at all times for when someone needed help understanding me and vice versa. Whilst I don’t have an ear for Albanian, I did have the advantage of being the writer and the fact that I’d based the main characters on my own family, meant that I knew these characters inside and out.

How did you go about tackling the portrayal of Albanian people and their culture, which to outsiders still carries a lot of negative clichés.

I was not aware of the clichés so much, coming from Australia. Dritan filled me in on countless tales of Albania, but what we were exploring was at the end of the day, a horror story with fantasy elements. So we weren’t necessarily tied down to absolute reality all the time and the film is lens in a way that embraces the ominous horror elements, wherever we found them. And the story is set in the mountains of a rural village, so we weren’t exploring modern city life with local crime figures, which may be the clichés people speak of.

The Albania I saw, mainly when we were location scouting, knocking on doors and seeing into people’s home lives, gave me confidence to know that the story I’d written in Sydney felt authentic to Albania. Anything that didn’t fit we re-wrote with either the actors or with Dritan’s consultation beforehand, who translated the script for me. I’m half Greek and Albania and Greece share a border, so there was that familiarity for me as well. Although the two countries certainly have significant cultural differences, there is still a Mediterranean through-line that is similar.

What will Albanian audiences make of it do you think? When will it be released there? Will the film kickstart a genre industry in Albania do you think? Or hope?

I have no idea. I made the film for a global audience. The Albanian sensibilities in the arts is unique to itself, so it could go either way. There was certainly a lot of interest in the project when we were there shooting, so I would imagine there would be a natural curiosity about the country’s first horror film.

Are the Albanian cast stars in their own right, or did you discover them?

They are all stars in my eyes. Gëzim Rudi who plays the father is one the most recognisable actors in Albania. Ilire Vinca who plays the Shtriga was in The Forgiveness of Blood and Suela Bako, playing the mother, has had a lot of experience too and is a filmmaker herself. But it’s the feature debut for most of the cast I believe.

Bearing in mind how difficult it is to get indie genre films released, was it a conscious decision to not make the film in the English language?

Certainly having non-English language does hurt sales internationally, but what’s the alternative? Having Albanians speak English instead? People have suggested that, but I think that’s a terrible decision long-term that would seriously compromise this project. Albanian is an ancient language rarely heard outside of the region and it’s one of the few that has no root in other languages, so we should preserve it. Global audiences obviously do find foreign cultures of interest so we have that on our side and people so far do seem to be genuinely intrigued in a horror film about an Albanian witch!

And finally, what next?

I’m developing another little project while I make my first serious attempts to go to USA with a script I’ve been developing. In the past I only sent one script out to a handful of people in USA, and I wasn’t even there to do the pitch meetings, as I was based in Sydney and focusing on Australian projects mainly, with no desire to move. But after the fun I had in Albania and the speed of which it came together, I’m all for working internationally.

BLOODLANDS is showing at the Glasgow Film Theatre on Sat 25 Feb, 2.20pm as part of Horror Channel FrightFest Glasgow 2017.

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Film News (UK): Exclusive behind-the-scenes stills revealed as slasher horror THE TOMBS completes production

Templeheart Films, the producing company behind Paul Hyett’s HERITIKS and Andy Edwards’ IBIZA UNDEAD, are set to unleash a new kind of monster in THE TOMBS, which has just finished filming at The London Tombs, The London Bridge Experience’s horror themed tourist attraction.

Dubbed ‘Celebrity Big Brother’ meets ‘Friday the 13th’, the gruesome slasher stars Jessica Ann Brownlie (Valley of the Witch), Jess Impiazzi (The Only Way Is Essex), Marcia do Vales (Ibiza Undead), Jessica Cameron (Truth or Dare), Akie Kotabe (Humans), Anthony Ilott (Wrong Turn 6), Ayvianna Snow (Heretiks) and Devora Wilde (Rush). It’s directed by Dan Brownlie (Self-induced Nightmares, Serial Kaller)

Synopsis: A clutch of C-list celebrities and the tabloid press have gathered at ‘The London Tombs’ to participate in a publicity stunt for a new horror movie being launched They and the cast are to take part in a filmed challenge in which their task is to find the skull of notorious necromancer Robert White. The tour guide actors are on hand to make their mission as scary as possible.

Little do they know that deep in the bowls of the building something has awoken and what starts as a night of frightful fun turns into one of intense terror when the evil entity starts stalking the claustrophobic halls of this maze of terror.

Some games just shouldn’t be played…

THE TOMBS, shot over a five week period at the end of 2016, was the first film allowed access to The London Tombs.

Director Dan Brownlie commented: “We were incredibly privileged to be allowed to film there. considering this was the first time that the attraction has ever allowed third party photography of any kind to take place. It was an fantastic opportunity not to be missed”

 

 

Producer Rachel Gold added: “With the success of attractions like ‘Secret Cinema’ and, the growth of interactive genre experiences, it was a great opportunity to create a movie where the actual film location is open to the public to experience for themselves what our film’s characters are going through.”

The film is set to be released later this year,

THE TOMBS is a Templeheart Films & The Attraction Movie Production, produced by Rachel Gold, exec produced by Elisar Cabrera, Lyndon Baldock & Kevin Kane. Directed by Dan Brownlie and written by Michael W Smith.

Press enquiries:
Greg Day
Clout Communications
greg@cloutcom.co.uk 07889 861646

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The World Premiere of DERREN BROWN: SECRET

The World Premiere of
DERREN BROWN: SECRET

Starring Olivier Award winner Derren Brown
Written by Andy Nyman, Derren Brown and Andrew O’Connor
Directed by Andrew O’Connor and Andy Nyman

Performances Begin Friday, April 21
Opening Night Tuesday, May 16
Limited Engagement through Sunday, June 4

Atlantic Theater Company’s Linda Gross Theater

Atlantic Theater Company (Neil Pepe, Artistic Director; Jeffory Lawson, Managing Director) is proud to announce the world premiere production of Olivier Award winner Derren Brown’s new show Secret, written by Andy Nyman, Derren Brown and Andrew O’Connor, and directed by Andrew O’Connor and Andy Nyman.

Derren Brown: Secret is a brand new production from the acclaimed British performer and author who will make his American theatrical debut at Atlantic Theater Company. In the UK, Derren Brown’s critically acclaimed shows have played sold out runs in the West End and won two Olivier Awards.

Be part of the startling world of mind-reading, suggestion and psychological illusion at the hands of UK phenomenon, Derren Brown. This spellbinding theatrical experience challenges us – in the most jaw-dropping way – to take a closer look at the stories and beliefs that guide our lives.

Derren Brown: Secret will begin previews Friday, April 21, officially open Tuesday, May 16 and play a limited engagement through Sunday, June 4, 2017, Off-Broadway at Atlantic Theater Company’s Linda Gross Theater (336 West 20 Street).

More information here: https://atlantictheater.org/playevents/derren-brown-secret

Secret is not suitable for children under 12.

Atlantic Theater Company’s Linda Gross Theater is located at 336 West 20 Street (between 8 and 9 Avenues).

US press enquiries:
BBB – Joe Perrotta – jperrotta@bbbway.com & Kelly Guiod – kguiod@bbbway.com

UK press enquiries:
Greg Day, Clout Communications, greg@cloutcom.co.uk

Follow Atlantic Theater Company on Twitter @AtlanticTheater
Instagram @AtlanticTheater, Facebook
Follow BBB on Twitter @BBBway, Instagram @BBBway, Facebook

www.atlantictheater.org


Note to editors:

Schedule:
Tuesday at 7pm, Wednesday-Saturday at 8pm, Saturday and Sunday at 2pm.
No Sunday matinee: 4/30
Added performance: Sunday 4/30 at 7pm

Tickets:
Tickets will be available to Season Passport holders beginning Monday, February 13 at 2:00pm, to Super Fan Passport holders beginning Friday, February 24 at noon and to the general public on Friday, March 10 at noon. Super Fan Passports include 2 tickets to the show, a 2-week pre-sale period, unlimited ticket exchanges, no additional fees and 2 Derren Brown-signed show posters.

Regular tickets begin at $65. Super Fan Passports are $185. Order online at atlantictheater.org, by calling OvationTix at 866-811-4111, or in person at the Linda Gross Theater box office (336 West 20 Street between 8 and 9 Avenues).

Passports can be purchased online at www.atlantictheater.org/passport/, by calling OvationTix at 866-811-4111, or in person at the Linda Gross Theater box office (336 West 20 Street between 8 and 9 Avenues) Tuesday through Saturday from 12:00 – 6:00pm.

For information on Atlantic Theater Company Passports,
visit www.atlantictheater.org/passport/ or email membership@atlantictheater.org.

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Ahead of the UK premiere of his latest film IT STAINS THE SANDS RED at Horror Channel FrightFest Glasgow, Colin Minihan chats about the creation of his ‘zombie love story’, the challenges of shooting in Death Valley and his new movie ‘Still/Born’.

Colin Minihan with Brittany Allen

Q: Are The Vicious Brothers still an entity? You’ve only co-directed ‘Grave Encounters’ under that moniker – ‘Extraterrestrial’ and ‘It Stains The Sands Red’ carry your separate credits. That’s the way you want it from now on?

COLIN: Our roles were just less defined when we made ‘Grave Encounters’ because we were both very young. If we make a film together and feel like it’s a Vicious Brothers film, then I think we’d use it again…But then again there are far too many “brothers” right now – it starts to feel a bit gimmicky.

Q: ‘It Stains The Sands Red’ is such a terrific and deceptively simple idea, where did the inspiration come for the story?

COLIN: A combination of things. The main one was that I had just moved to LA and was eager to find an idea befitting of the desert – which I’ve always found to be extremely cinematic but never had a good idea for. I think after watching ‘World War Z’, I jokingly asked Stuart what hadn’t been done with zombies and could be done on a low budget… He responded something like, “I don’t know… One Zombie?” — It was a light bulb moment for me, like, “that’s it! ONE ZOMBIE!”

Q: Did the overall arc of the story change in the writing process? Molly’s zombie pursuer would always become her best friend, then confessor, and finally saviour?

COLIN: The lead character changed throughout the writing process. The first drafts were actually written for a male protagonist who was a struggling alcoholic and had abandoned his son in the city. After rejecting that idea, we wrote this other script called ‘The Last Stakeout’, which I’d like to make someday, but then finally I pitched the new take on the story for ISTSR to Stu – which would follow Molly, a troubled Las Vegas stripper on her journey through the desert with and against the Zombie – who she would name Smalls. This version really clicked fast while writing… it wasn’t like pounding away at the idea by force. It came out relatively quickly, which is always nice and usually means it’s flowing well. It also felt more do able on a low budget as the flashbacks were extremely minimal and most of the shoot would be just two actors on screen, albeit one is in full prosthetics.

Q: You play with zombie clichés brilliantly, and upturn them like an expert. It makes the movie a constant surprise as a result?

COLIN: We tried to just let Molly’s character arc guild the end result of the script. We knew we needed to break her down throughout and get there in an organic way – it was very challenging to write this film because she is talking to someone who can’t talk back. So she is giving exposition but it can never feel forced – it has to be earned. Which is very challenging in this case.
Q: Brittany Allen carries the movie superbly. She’s a Scream Queen favourite and you cast her in ‘Extraterrestrial’ too. Was it written for her?

COLIN: When the script was re-written for a female lead… We knew right away that it had to be Brittany. There was never anyone else. She is a character actor who has been acting since she was a child and is completely transformative in many of the rolls that she’s played… I hope people see how insanely talented she is with this film. It’s definitely her film.

I also want to mention my pal Juan Riedinger (who is in ‘Grave Encounters’ as well). He brought a ton of depth to the role of Smalls and without his absolute commitment to the role, and his patience, this movie would not exist. He is both horrifying and lovable.

Q: The way Molly grows as a person from vacuous party girl to committed mother is superbly handled in the script by Brittany. That was always the core, the most engaging and surprising aspect of the movie?

COLIN: ISTSR was always a character journey through the desert. We were more inspired by Gus Van Sant’s ‘Jerry’ more than anything while writing.

Q: Talk about the filming rigours; where was the location (the Valley of Fire in Nevada?), how long was the schedule, and it looks a really difficult shoot?

COLIN: It was probably the most difficult shoot I’ve ever been a part of. We kind of knew that going into it as when scouting Death Valley as a possible location we had a close call, almost passing out from the intense sun on top of a dune.

This film is as indie as it gets. I didn’t even have an AD or Script Supervisor on set – and those are two of the main people a director leans on while making a film. We had no money so we had to be as economic and guerrilla as possible in order to pull off this sweeping story. It was a rag tag group of like 10 people on set on any given day and the make-up crew was in a blood covered RV trying to get Juan camera ready. — At one point, Juan even slept in his zombie make up for three days straight because the application was so time consuming, never mind the time it took taking it off.

Because of what happened in Death Valley in the summer (heatstroke), we aimed for the Las Vegas’ desert in November and December in hopes it would be mild and maybe a bit colder at night. Unfortunately it ended up being freezing cold most of the time, even during the day. If you watch the film it is actually taking everything in Brittany to pretend to be hot when really she is freezing.

Q: The movie ends on an optimistic note, you see hope in an impending zombie apocalypse?

COLIN: If there is an impending Zombie apocalypse, we are all fucked. Much worse so than we already are.

Q: What can you reveal about your next project HAUNTED TEMPLE?

COLIN: ‘Haunted Temple’, aka ‘Temple’ is no more. Let’s skip this question. ha!

Q: So finally, If not ‘Temple’, what is next?

COLIN: I have a new film that I am very excited about called ‘Still/Born’. It is in the final stages of post-production. It’s about a young mother trying to protect her new-born baby from a supernatural entity. It’s probably the scariest film I’ve been a part of. I co-wrote it and produced it and it should premier very soon.

IT STAINS THE SANDS RED is showing at the Glasgow Film Theatre on Fri 24 Feb, 4.00pm as part of Horror Channel FrightFest Glasgow 2017.

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Ahead of the UK premiere of his latest film FASHIONISTA at Horror Channel FrightFest Glasgow, Simon Rumley reveals his love for Austin, Texas, why he’s a fan of drugs in film and his planned foray into London gangster land…

Q: ‘Fashionista’ finds you back in Austin after ‘Red White and Blue’. What excites you about Austin so much? Could ‘Fashionista’ have been set anywhere else?

SIMON: I had such a great experience on ‘Red White & Blue’ for so many different reasons that it was only natural that, at some point, I’d return to Austin. With Tim League (exec producer), Paul Knauss (co-producer) and Karen Hallford (casting director) I’ve got a great bunch of friends who also happen to be great collaborators and they form the core of both films’ Austin based crew and most probably without them neither films would have happened. Beyond that, I love the unique style of Austin, the food, the music, the cinema, the clothes, the neon lights, the bars and of course the people. And although it’s a place which is constantly growing, it still feels it has an intimacy which places like LA or New York or London lack.

Fashionista’s evolution was very much a response to when I went back there in 2014 for a few days after spending a time there in 2009 and 2010 and noticing how much it had changed. Like most interesting places in the Western World over the last 5 years, it’s become gentrified; there’s more sky rise flats, more traffic, more upmarket restaurants and less locals. And, like most places which have been gentrified, there’s an erosion of some of the things that made it exciting in the first place.

The whole vintage shop phenomena was such a massive part of the Austin that I knew in 2009 and although there are still a lot of these shops, there’s definitely less – even the one we shot in had to relocate literally two weeks after we shot there…So the lead character’s obsession with clothes in the film and her transition from vintage mash-up to designer clothes is probably not something that could believably happen in many places; I’m not sure Fashionista could have been set anywhere else in that case…

Q: It’s a film about addiction, from sex and body image to clothes and identity, but not anything drug-related. You didn’t want to throw that into the mix?

SIMON: I’m a big fan of drugs in films but, to be honest, I think all that needs to have been said has been said so I’m not sure what I would have been able to add to the genre. I’ve always been interested in a period drug film – Alastair Crowley’s Diary of a Drug Fiend for example would offer a different perspective on the subject and I’m currently reading Johny Barleycorn by Jack London which is about his relationship with alcohol – not memoirs of an alcoholic as he’s keen to point out but alcoholic memoirs, set in 1913; fascinating to consider the power of alcohol through the ages.

I watched Christiane F again as research for this film and films like Requiem For A Dream and Trainspotting offer definitive investigations into contemporary drug addiction so I’m not sure what the point would have been but more importantly, the film is about consumerism and clothes are something that everyone can relate to. It’s so easy to buy anything these days and clothes seem to be the epitome of the consumer’s purchasing power. Given that it’s a phenomenon that hasn’t been explored in cinema it felt ripe for investigation.

Q: All your movies are so unique, your subject matters, locales and atmospheres feel so new and virtually unexplored. Is that the only way you can personally approach film as an artistic medium?

SIMON: Ah, thanks! From an early age, I’ve always thought that to make a mark, you should try to do something different, individual and unique. I think this belief is ultimately mis-founded; it might have worked at the beginning of the ‘Midnight’ phenomena for people like Lynch and Jodorowsky and Waters in the early/mid 70s but we’re living in such a culturally anodyne time that increasingly, people really just seem to want things that are similar to things they already know and understand and are thus non-challenging.

In terms of my own creative evolution, I definitely have tried to make every film different from the previous one and much of this is done through structure, editing and the visual aesthetics of the film. The structure to ‘The Living and The Dead’, ‘RWB’ and ‘Fashionista’ are completely different from each other as is the editing and the visuals. It keeps it interesting for me as I continue to explore what cinema is and what can be done with it as a medium.

That said, I’ve been trying to do more straight forward, linear films for a while now but things just haven’t worked out that way…

Q: Once more you completely pull the rug out from the viewer’s feet with some major surprises. Do you think of them first and build your story around them, or do they evolve organically?

SIMON: Yes; interested to see how people react to these moments! They all evolve organically to be honest although there were a few deliberate decisions to make some reveals as late as possible in the film.

Q: This contains flashbacks, flash-forwards, in fact flashes everywhere! How did you cope continuity wise?

SIMON: Ha! Good question. The script was written exactly how it ended up on screen so I’m not really sure anyone really knew what was going on apart from me and so continuity was a big issue. Continuity is an incredibly tough job and I usually find continuity people incredibly annoying and often not very good at their jobs. The only great continuity person I worked with was a woman called Helene Oosthuizen who did Club Le Monde and The Living And The Dead with me and I’d love to work with her again but generally I try not to have continuity people on my film since they slow the whole process down and often confuse it. On ‘RWB’ we didn’t have one, on ‘Crowhurst’ we didn’t have one and perhaps somewhat recklessly we didn’t have one on ‘Fashionista’.

This could have been a massive disaster since there are many scenes which chronologically flow on from each other but appear in the script in a non-linear fashion. The producer and I spent a lot of time making sure the shooting schedule accommodated this and we were also incredibly lucky to have an amazing Costume Designer, Olivia Mori, who not only sourced all these incredible and different clothes (I think Amanda Fuller’s character had over 100 changes) but also spent a lot of time working out the exact linear chronology of the piece. We met up two or three mornings and went through her interpretation of the script, just to make sure it was correct. By the time we finished this, it was watertight in her mind but even then things could have gone wrong but, thankfully they didn’t. But yep, this was an incredibly challenging film but everyone, Olivia, especially, came through with flying colours.

Q: How would you crystallise your own directing style?

SIMON: Every script is different so I try to direct the script in order to get the maximum drama/tension etc. from it, using editing, music, camera angles etc. as a means to do this. This is probably why every film looks and feels slightly different.

Q: You give director Nicolas Roeg a name check in the end credits. And you gave Amanda Fuller and Ethan Embry BAD TIMING to watch before shooting. Is he your main inspiration here?

SIMON: Yes – I watched a few films such as Safe by Todd Haynes, Christiane F by Uli Edel, A Woman Under The Influence by John Cassavetes and Lost Highway/Mullholland Drive by David Lynch. But yep, Bad Timing was the main one and I gave it to Amanda and Ethan to try to offer a rough idea as to how the film would end up visually. As far as I remember, that jumps pretty much back, forward and everywhere else. I’ve always been a massive fan and was incredibly fortunate to get the opportunity to work with him on my previous film ‘Crowhurst’, which he exec’d produced. I’d always wanted to try to make a film which has the kind of structure he’s best known for and having spent some time with him, I thought it was a now or never kind of situation.

Q: You’re working with Amanda Fuller again, why do you rate her as an actress, because she fits into your own weird universe the best?

SIMON: Not specifically that per se, but most actresses wouldn’t have had the courage to do what she did in ‘RWB’ or even ‘Fashionista’ so now you come to mention it, that must be something to do with it! She’s absolutely fearless which helps and she’s a complete natural, able to turn the emotions on and off like a tap which also helps. Added to this, she’s a lovely person and completely reliable so it’s always a pleasure to work with her and the results are always fantastic. I’m sure we’ll work together again sometime!

Q: Do you prefer being a resolutely cult director? ‘Johnny Frank Garrett’s Last Word was a departure for you. How do you plan balancing artistry with future commercial opportunities?

SIMON: After ‘The Living and The Dead’, ‘RWB’, ‘Little Deaths’ and my ‘ABCs of Death’, I made a decision to go more commercial, something I’m still working on but hope to crack with my forthcoming films. Johnny Frank Garrett was supposed to be the first film in this direction but for various reasons, that didn’t work out exactly how I’d hoped. That said, I’ve been very lucky to make 8 feature films and 2 anthologies and generally had the freedom to do what I wanted with them. If you keep the budgets low enough, these films are still ‘commercial’ in as much as they make their investors’ money back. That said, I’d like to work on a larger canvas, get paid more and get the films seen by more people so that’s definitely my intention henceforth.

Q: And finally, what’s next?

SIMON: I’ve got three projects which are shaping up well. The first which we’re planning on shooting towards end of March is a period based London gangster film about two guys called Jack The Spot Comer and Billy Hill. They’re the missing link between Peaky Blinders and The Krays and there’s a fantastic story to be told about the ups and downs of their relationship and who, ultimately, was the King of The London Underworld. Given how this country maintains a fascination with gangsters, it’s incredible this story has never been told before because it’s ripe for dramatisation.

Of the two projects after that, one is a revenge thriller set in post Brexit England and the other is a thriller set in the Mojave desert about a couple who are being shot upon by a sniper, based on an excellent novel called ‘Eyeshot’ by a very talented young writer called Taylor Adams.

FASHIONISTA is showing at the Glasgow Film Theatre on Sat 25 Feb, 11.45am as part of Horror Channel FrightFest Glasgow 2017.

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Ahead of the UK premiere of his latest film DETOUR at FrightFest Glasgow, Chris Smith tells us the importance of FrightFest, his love of ‘film Noir’ and his hatred of reality TV…

FrightFest has premiered all your genre movies CREEP, SEVERANCE, TRIANGLE, BLACK DEATH, except GET SANTA obviously. Is this positioning an important part of the rollout process for you?

Firstly let me apologise for being away for so long and thank you for having me back. I wrote ‘Get Santa’ because I’d just had a son and was feeling like I wanted to do something that he could watch in the next 15 years. I expected the film to take a year to come together but it ended up taking four years. My son was by that time old enough to come to the premiere with a few of his class mates.

Back to the question, Frightfest is extremely important, not just to me personally, because it’s always an honour, but it’s important to the birth of the film. The Frightfest audiences are the first people to see it, the first to comment on it and it’s nice that they’re such committed fans. Putting a film out there, freeing it from the confines of the edit suite is exciting, but also scary. Frightfest, because of the audiences passion and knowledge of genre, make the process what it should be, fun.

What was the main inspiration for the DETOUR script? Many have commented on its multi-narrative SLIDING DOORS-style vibe. Complicated to write the two sides of one story?

‘Sliding Doors’ and ‘Run Lola Run’ both came out the same year. I must admit I was never inclined to watch ‘Sliding Doors’, but I know that, like ‘Run Lola Run’, it deals with the concept of different destinies being forged by blind change. Though actually neither of these films were an inspiration for ‘Detour’, which came about by chance.

It was early 2007 and I had just finished writing ‘Triangle’ and was in LA trying to finance it. I’d liked the film ‘Disturbia’, which had been a big hit and so for about three months Hollywood was trying to make Hitchcockian thrillers. An exec came to me and said she’d like to cook up a modern version of ‘Stranger’s on a Train’. I think my brain was so wrapped up structurally from writing ‘Triangle’, that instead of two characters deciding to murder each other’s wives, I cooked up one character, seemingly facing two destinies, based on one moral choice: To kill or not to kill?

Was it complicated to write? Certainly not in comparison to ‘Triangle’ but it offered different challenges. I was really keen for the characters to shine through more than I’d achieved in Triangle, and this is tricky because you’re asking the audience to question the narrative, rather than simply immersing them in a classical structure, and then you’re also hoping they feel empathy for the characters. That is the main challenge for any film that makes you aware of the film making process.

DETOUR is full of film noir references, from the HARPER poster on the wall to the clip from the 1945 B movie classic DETOUR by Edgar G. Ulmer. What is it about the film noir idiom you like?

I’ve always loved Film Noir. I think it is, or rather was, the cornerstone of indie cinema. These are films often made often on the cheap and yet always brimming with colourful characters, taut story lines, and scenarios where a happy ending feels impossible, instead of inevitable.

The film that has always had the biggest effect on me is Fritz Langs’ ‘The Woman In The Window’. My film ‘Detour’ is arguably more influenced by that, than the Ulmer movie that we reference in the film and borrow the title from. That said, both films contain a character who crosses a line and finds that the forces that drove him there, and the company he now keeps, will never let him free again.

A great cast of new and up-and-coming stars – Tye Sheridan, Bel Powley, Emory Cohen. You certainly know how to pick them, Eddie Redmayne in BLACK DEATH for example. Is it a knack?

Liam Hemsworth got his first role in ‘Triangle’ also. Is it a knack? I don’t know. To me if you can’t see that those actors are talented you’re in the wrong job. When I got the audition tape from Liam Hemsworth I literally walked it around the office with my jaw dropped showing people. It was so glaringly obvious this boy was a movie star. It was the same with Eddie and all three of the leads in ‘Detour’.

Tye Sheridan’s performances in ‘Joe and Mud’ were electric. Emory Cohen lit up every scene he did in ‘The Place Beyond The Pine’s’. With Bel Powley it was a little different because I met her having seen nothing. The rumour mill was reporting that she was fantastic in the film ‘The Diary of a Teenage Girl’ but none of us had seen it The casting director loved Bel and the financier was happy to cast her on what he had heard, so I met her blind. We got on immediately; I thought she was so cool, funny and smart that I basically cast her on the spot.

Great chemistry between the three leads – was it there from the beginning, or did it evolve gradually?

It was there from the beginning I think but the little choices we made in prep helped it along. We scheduled well so that we did all of the scenes in the house first; just me and Tye and Stephen Moyer. That gave us a real foundation so that when Emory and Bel joined the film, at the end of the first week, we were already working like a well-oiled machine. This gave me more time to concentrate on them, but their instincts were so good that there was very little in the way of notes.

Great solid anchors by Stephen Moyer and John Lynch too, whose maturity contrasts with the young cast on purpose?

Absolutely. They’re the grown-ups but they still have their own problems and in some way are more immature than the younger characters. I think they’re both great in the film.

DETOUR was shot in South Africa. How was filming there?

It was shot mainly in South Africa but we also spent a week shooting in LA and Las Vegas. I love South Africa, it’s a wonderful country, with great crews and so it was a no brainer to shoot it there to help with the budget. It also looks just like California.

You’ve said the lighting owes a lot to Edward Hopper’s paintings? Can you elaborate?

Me and my designer joke that all feature films are either Edward Hopper or Carravagio. Film-makers use either artist as their inspiration, either consciously or unconsciously. With Hopper the emphasis is on framing and production design. With Carravagio the emphasis is on using practical lighting and contrast. This film is a Hopper.

It’s a film you want to watch again the moment its finished to see if you can catch all the clues and mis-directs you didn’t see the first time? Do you consciously like to manipulate your audience?

I’m a huge fan of Kiarostami. I’m drawn to film-makers that make you question the film-making process. Lars Von Trier is another I greatly admire. Everything about film-making is fake and the film-makers’ job is to make you forget this, but there’s pleasure in being reminded too because it makes you engage in an entirely different way.

I can’t watch reality TV. It’s ridiculous. The one thing it’s not is reality. You see survival programs where someone is walking across the Sahara desert. Is he going to make or die of thirst? Give me a break! Behind the camera there’s 20 camels packed full of water for him, the camera crew, the sound man, the medic, the fixer, the camel shepherd and the camels. There’s probably a helicopter standing by.

I like stories where we acknowledge this deceit and try to make a feature. If you still feel tension when you are simultaneously acknowledging the artifice of the process, then I think you’re doing something good.

And finally, what’s next for you?

I’m working on a horror movie about a serial killer called The Judas Goat and a thriller called ‘The Undertaker’. Hoping to shoot either of them by the end of the year.

DETOUR is showing at the Glasgow Film Theatre on Sat 25 Feb, 4.30pm as part of Horror Channel FrightFest Glasgow 2017.

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Film news (UK): Horror Channel launches Sci-Fear season

No one will hear you scream on Saturday nights this February as Horror Channel launches a Sci-Fear Season with four ultimate science-fiction shockers, including the UK TV premiere of William Eubank’s inventive and stylish fantasy head-trip THE SIGNAL starring Laurence Fishburne. There are also network premieres for Christian Alvart’s Lovecraftian survival thriller PANDORUM, starring Dennis Quaid and Ben Foster, and John Bruno’s visually stunning chiller VIRUS, based on the comic book by Chuck Pfarrer, starring Jamie Lee Curtis, William Baldwin and Donald Sutherland. Plus there’s another showing of eXistenZ, David Cronenberg’s enigmatic body horror, starring Jude Law, Jennifer Jason Leigh, Willem Dafoe and Ian Holm. The season runs from Sat 4 Feb to 25 Feb at 9pm.

Click here to watch the trailer.

Sat 4 Feb @ 21:00 – THE SIGNAL (2014) *UK TV Premiere

Nic (Brenton Thwaites) and Jonah (Beau Knapp) are MIT students engaged in an online altercation with the mysterious hacker ‘Nomad’. They get a lead on Nomad’s whereabouts and, with Nic’s girlfriend Haley (Olivia Cooke), investigate an abandoned desert shack. Suddenly everyone loses consciousness, and Nic awakens in what seems to be a secret hospital. What’s going on? Where are Jonah and Haley? What is this ‘Extraterrestrial Biological Entity’ he’s being told about? And what does the mysterious Dr. Wallace Damon (Laurence Fishburne) want from them?

Sat 11 Feb @ 21:00 – PANDORUM (2009) *Network Premiere

Astronauts Payton (Dennis Quaid) and Bower (Ben Foster) awake in a hypersleep chamber with no memory of who they are or what their mission might be. While Payton stays behind to monitor the radio transmitter, Bower ventures out of the chamber into the seemingly abandoned spaceship. The men quickly realise that they are not alone, and that the fate of mankind hinges on what they do next…

Saturday 18 Feb @ 21:00 – VIRUS (1999) *Network Premiere

Caught in a typhoon, a tugboat commanded by Robert Everton (Donald Sutherland) comes across a mysterious near-deserted ship. Excited to find a vessel that could be sold for as much as $30 million, Everton and his crew board and prepare to move the craft, despite the warnings of sole survivor Nadia Vinogradiya (Joanna Pacula). When a malevolent alien presence begins killing off the crew, it’s up to steely navigator Kit Foster (Jamie Lee Curtis) to get the rest of them to leave before it’s too late.

Sat 25 Feb @ 21:00 – eXistenZ (1999)

Canadian filmmaker David Cronenberg, who has long been fascinated by the ways new technology shapes and manipulates us, is in familiar territory with eXistenZ; a futuristic thriller which combines elements of science fiction, horror, and action-adventure. eXistenZ is a new organic game system that, when downloaded into humans, accesses their central nervous systems, transporting them on a wild ride in and out of reality. A leader of the field is game designer Allegra Geller (Jennifer Jason Leigh), but when she narrowly escapes an assignation attempt, she finds herself on the run with a marketing trainee (Jude Law) in a race against time as they try to prevent the pod containing the only copy of the eXistenZ game from being stolen. But what is the game, and what is reality?

There are also five further network premieres this month including TUCKER AND DALE VS EVIL, Eli Craig’s endearingly cheeky tribute to suspense and slasher classics, SAW IV, Darren Lynn Bousman’s bloodiest of the popular franchise, Peter Hyams’s museum monster-chaser THE RELIC, starring Tom Sizemore, John Erick Dowdle’s REC-inspired QUARANTINE, and Marcos Efron’s 2010 gripping remake of AND SOON THE DARKNESS, starring Amber Heard.

Fri 3 Feb @ 22:50 – SAW IV (2007)

Fri 10 Feb @ 21:00 – TUCKER AND DALE VS EVIL (2010)

Fri 17 Feb @ 21:00 – QUARANTINE (2008)

Fri 24 Feb @ 21:00 – THE RELIC (1997)

Sun 26 Feb @ 21:00 – AND SOON THE DARKNESS (2010)

TV: Sky 319 / Virgin 149 / Freesat 138 | Freeview 70
www.horrorchannel.co.uk | twitter.com/horror_channel | facebook.com/horrorchannel

Press enquiries:
Greg Day, Clout Communications
greg@cloutcom.co.uk 07889 861646

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FILM NEWS (UK): Horror Channel FrightFest celebrates 12th year at Glasgow Film Festival with record-breaking fourteen titles

Brittany Allen in IT STAINS THE SANDS RED

Monstrous stories, unspeakable urban legends, brutal acts and fearsome folktales dominate as the UK’s favourite horror fantasy event returns to the Glasgow Film Festival with a record fourteen films, including ten UK premieres, screening from Thurs 23 Feb to Sat 25 Feb 2017 at the iconic Glasgow Film Theatre.

Kicking off with a special screening of A CURE FOR WELLNESS, an intense psychological ride from Gore Verbinski, the visionary director of THE RING. and ending in sex and blood-drenched frenzy with the UK premiere of Roberto San Sebastián’s THE NIGHT OF THE VIRGIN, the 2017 line-up Is a shivering selection of the finest and wildest new fear-stokers the genre has to offer.

This year there are two films screening on the Thursday night. Following the 9pm showing of A CURE FOR WELLNESS is an exclusive unveiling of PHANTASM: REMASTERED, a new 4K restoration of the never forgotten fantasy horror masterpiece.

Friday’s line-up springs into high-octane action with the UK premiere of Matthias Hoene’s blockbusting $50 million fantasy epic THE WARRIOR’S GATE. This is followed by the UK Premiere of IT STAINS THE SANDS RED, a thrilling and unexpectedly heart-felt zombie road movie. Director Colin Minihan and lead actress Brittany Allen will be in attendance. Next up is THE TRANSFIGURATION, Michael O’Shea’s nihilistic meditation on millennial angst that took Cannes 2016 by storm. We’re pleased to say that Michael will be joining us to discuss the film.

Our 9pm presentation unleashes monster mash fury with the original Gangsta Lizard wreaking fabulous havoc in the UK Premiere of SHIN GODZILLA and rounding off the evening in visually stunning style is the first UK showing of Joe Dietsch & Louie Gibson’s award-winning HAPPY HUNTING, a dark and dangerous unfolding of desert death games.

Getting the Saturday programme started with considerable bite is the UK premiere of CAGE DIVE, Gerald Rascionato’s well-received take on survivor reality TV. This is followed by the hotly anticipated UK premiere of FASHIONISTA, Simon Rumley’s shockingly hypnotic exploration of addiction, body image and transformation. Considered by US critics to be his best film to date, Simon will be in attendance to discuss the film. 

Also in attendance is Steven Kastrissios, director of BLOODLANDS. the first ever collaboration between Australia and Albania and the Balkan country’s first foray into horror cinema. Kastrissios’ passion project invites you to explore the mind-set of modern Albania while embarking on a spellbinding journey into terror. This is the World Premiere and Steven will be joined on stage by the main cast.

Make sure you’re strapped in for the UK premiere of our next presentation – Christopher Smith’s twisted revenge road move DETOUR. We’re thrilled that Chris will be joining us.

Matt Smith & Stanley Tucci in PATIENT ZERO

Saturday evening unfolds in adrenaline-fueled style with the UK premiere of Stefan Ruzowitzky’s PATIENT ZERO, starring Matt Smith, Stanley Tucci and Natalie Dormer battling super-fit, highly intelligent undead killers! This is followed by the UK premiere of Ben Young’s powerfully disturbing debut HOUNDS OF LOVE, a unique three-way study of a serial-killing couple and their latest female victim.

To end this year’s global feast of fear is the UK premiere of an extreme horror comedy pushing ALL the boundaries. Roberto San Sebastián’s THE NIGHT OF THE VIRGIN is disgusting, offensive, hilarious and totally brilliant!

In addition, there is a sneak preview of Dominic Brunt’s ADULT BABIES, with the popular actor / director in attendance and let’s not forget those great give-aways!

Alan Jones, co-director, said today: “What a privilege for Horror Channel FrightFest to return to the open arms of the Glasgow Film Festival. Each of our forensically assembled line-up has been chosen on the basis it has something new and unique to offer, something we feel worth championing to our discerning Scottish audiences. So join us as we step beyond the pale together into the safe darkness of sinister cinema where genre transcends all and unites us as one chilled community.”

FrightFest Passes are £70 and available from noon on Mon Jan 16, 2016. Passes cover all films on Fri 24 & Sat 25 Feb ONLY.

Tickets for ‘A Cure for Wellness’ and ‘Phantasm: Remastered’ ’ plus individual tickets for the Fri/Sat films are on sale Mon Jan 23 from 10am. Price: £10.00. £8 concession. 

To book tickets:
+44 (0)141 332 6535 / boxoffice@glasgowfilm.org / www.glasgowfilm.org/festival

Programme details

THURS 23 FEB – GFT Screen 1

21:00 A CURE FOR WELLNESS (Special screening)

An ambitious young executive is sent to retrieve his company’s CEO from an idyllic but mysterious “wellness centre” at a remote location in the Swiss Alps. He soon suspects that the spa’s miraculous treatments are not what they seem. When he begins to unravel its terrifying secrets, his sanity is tested, as he finds himself diagnosed with the same curious illness that keeps all the guests here longing for the cure.

Director: Gore Verbinski. Cast: Dane DeHaan, Mia Goth, Jason Isaacs, Celia Imrie. USA 2017. 18. 126 mins, Thanks to 20th Century Fox.

23:40 PHANTASM: REMASTERED (Scottish Premiere)

Set to introduce a new generation to the deranged charms of the cult classic, meet horror icon Angus Scrimm as a malevolent mortician sending bizarre murder victims into another dimension where they become slave dwarves. A macabre funhouse of shock that weaves a powerful primal spell, the unforgettable silver sphere that drills out brains is back in a phantasmagorical fusion of surreal imagery, outlandish thrills and super scares.

Director: Don Coscarelli. Cast: Michael Baldwin, Bill Thornbury, Angus Scrimm. USA 1979. 84 mins. 18. Thanks to Arrow Films.

FRI 24 FEB – GFT Screen 1

13:30 THE WARRIOR’S GATE (UK Premiere)

Produced and written by Luc Besson and long-time collaborator Robert Mark Kamen (THE FIFTH ELEMENT) and directed by COCKNEYS VS. ZOMBIES maestro Matthias Hoene, the rip-roaring spectacular adventure finds hapless teenager Jack magically transported to ancient China where he must learn to convert his awesome video gaming skills into those of a Kung Fu warrior to bring peace to the warring kingdom. THE LAST STARFIGHTER goes CROUCHING TIGER, HIDDEN DRAGON in an enthralling fable opening up a whole innovative East meets West universe of wonder and imagination.

Director: Matthias Hoene. Cast: David Bautista, Sienna Guillory, Uriah Shelton. France/China 2016. 90 mins. 15. Thanks to Europacorp.

16:00 IT STAINS THE SANDS RED (UK Premiere)

First came the massive hit GRAVE ENCOUNTERS and the sci-fi shocker EXTRATERRESTRIAL and now director Colin Minihan and co-writer Stuart Ortiz, aka The Vicious Brothers have fashioned an unusual. ‘walking dead’ movie. After a horrendous flesh-eating apocalypse, Las Vegas wild child Molly finds herself stranded in the desert with a ravenously relentless zombie hot on her high heels. Forever trying to give it the ingenious slip, the lone stalker has no need of rest and soon it becomes her only physical contact in a world gone mad haunted by her dark past.

Director: Colin Minihan. Cast: Brittany Allen, Juan Riedinger, Merwin Mondesir. USA 2016. 92 mins. 18. Thanks to Digital Interference Productions and Grasswood Media.

18:30 THE TRANSFIGURATION (UK Premiere)

Orphaned African-American teen Milo thinks he’s undead in director Michael O’Shea’s fiercely independent first feature. To escape his depressing life, Milo has drenched himself in vampire lore gleaned from such horror classics as NOSFERATU, MARTIN, LET THE RIGHT ONE IN, THE LOST BOYS and NEAR DARK and has taken to sublimating his morbid fantasies bloodsucking on strangers. It’s when he befriends the equally troubled Sophie that a clear course of action presents itself providing liberation and tragic redemption.

Director: Michael O’Shea. Cast: Eric Ruffin, Chloe Levine, Aaron Moten. USA 2016. 97 mins. 18. Thanks to Soda Pictures.

21:00 SHIN GODZILLA (European Premiere)

Godzilla, the King of the Monsters, is back for a record-breaking box-office reboot of Toho’s kaiju classic. Present-day Japan, and an unexplained seismic event has occurred off the coast of Shinagawa, causing ripple effects all the way to the capital. Ministers scramble to figure out what’s going on but only cabinet secretary Rando Yaguchi knows what the audience already does. That Godzilla has majestically returned and has his fire-breathing, stomping sights on Tokyo once more.

Directors: Hideaki Anno, Shinji Higuchi. Cast: Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara. Japan 2016. 120 mins. 18. Thanks to Altitude Films.

23:15 HAPPY HUNTING (UK Premiere)

Warren is a degenerate drifter. On his way down to Mexico he finds himself stranded in Bedford Flats a one-horse town deep in the American desert. Unfortunately for him the town’s pastime is rounding up drifters and hunting them as part of an elaborate sporting event. This most dangerous and deadly game and bloody fight for survival is about to begin!

Directors: Joe Dietsch and Louie Gibson. Cast: Martin Dingle Wall, Ken Lally, Kenny Wormald, Connor Willimas. USA 2016. 91 mins.18.Thanks to WTFilms

SAT 25 FEB – GFT Screen 1

10:00 CAGE DIVE (UK Premiere)

CAGE DIVE follows three friends from California who set out to film an audition tape for submission to an extreme reality game show. To ensure they stand out, they decide to travel to Australia where they will be documenting themselves taking part in a most extreme activity…Shark Cage Diving. While on the dive, a catastrophic turn of events leaves them in baited water full of hungry Great White Sharks and turns there audition tape into a survival diary.

Director: Gerald Rascionato. Cast: Joel Hogan, Josh Potthoff, Magan Peta Hill, Suzanne Dervish-Ali. Australia 2017. 80 mins. 18. Thanks to Lionsgate Films.

11:45 FASHIONISTA (UK Premiere)

After RED, WHITE AND BLUE and JOHNNY FRANK GARRET’S LAST WORD comes uber-eccentric director Simon Rumley’s third distinctive Austin, Texas, based shocker., this sleekly demented De Palma-esque nightmare is set in the vintage clothing world where hipster shop owners April and Eric find their marriage tested when she begins to suspect her husband of having an affair. Her suspicions confirmed, April seeks sexual validation with the very mysterious and kinky Randall setting off a chain reaction of stylish fever dream madness, vogue fantasy role-playing and chic ultra-shriek.

Director: Simon Rumley. Cast: Amanda Fuller, Ethan Embry, Eric Balfour. USA 2016. 110 mins. 18. Thanks to Simon Rumley.

14:20 BLOODLANDS (World Premiere)

Fear the Shtriga! Written and directed by Steven Kastrissios who made his intense debut with THE HORSEMAN comes Albania’s first ever break-out genre film. Rooted in the very real phenomenon of blood feuds still plaguing the land, a struggling Albanian family, wrestling with traditions and superstition, must unite against another mysterious mountain clan’s aggressions. A surreal, remarkable and highly unusual voyage through the fantasy lens of whispered local mythologies,

Director: Steven Kastrissios. Cast: Gëzim Rudi, Emiljano Palali, Suela Bako. Australia/Albania 2016. 82 mins. 18. Thanks to Steven Kastrissios.

16:30 DETOUR (UK Premiere)

A tense, deftly constructed noir thriller from Christopher Smith, director of CREEP, SEVERANCE, BLACK DEATH and TRIANGLE. Law student Harper suspects his stepdad Vincent of causing the car crash that landed his mother in a coma. A chance meeting in a bar with a tough redneck and his girlfriend leads to a road trip of revenge and spiralling violence.

Director : Christopher Smith. Cast: Tye Sheridan, Emory Cohen, Bel Powley, Stephen Moyer. UK 2016. 97 mins. 18. Thanks to Dan Films.

18:55 PATIENT ZERO (UK Premiere)

Humanity is battling intelligent creatures born from a viral super-strain. After being bitten human survivor Morgan (Matt Smith) realises he is asymptomatic and can communicate with the infected, leading the last survivors on a hunt for Patient Zero and a cure. From Stefan Ruzowitzky director of ANATOMY, ALL THE QUEEN’S MEN and THE COUNTERFEITERS.

Director: Stefan Ruzowitzky. Cast: Matt Smith, Natalie Dormer, Stanley Tucci, Clive Standen, Agness Deyn. UK 2017. R/T TBA. 18. Thanks to Sony Pictures

21:10 HOUNDS OF LOVE (UK Premiere)

In the mid 1980’s seventeen year old Vicki Maloney is randomly abducted from a suburban street by a disturbed serial-killing couple. As she observes the dynamic between her captors she quickly realises she must drive a wedge between them if she is to survive. Inspired by real life crimes, A superbly acted and powerful debut feature.

Director: Ben Young. Cast: Emma Booth, Ashleigh Cummings, Stephen Curry, Susie Porter. Australia 2016. 108 mins. 18. Thanks to Arrow Films

23:20 THE NIGHT OF THE VIRGIN (UK Premiere)

At a New Year’s Eve party, nerdy and naïve Nico sets out to lose his virginity. After striking out with drunken babes, his gaze crosses to Medea, an attractive if mature woman. Before he knows what’s happening he’s whisked to Medea’s filthy apartment where sinister Asian artefacts adorn the shelves, cockroaches crawl the floors and an ancient prophecy rears its head along with the rowdy gay neighbours and a very jealous ex-boyfriend.

Director: Roberto San Sebastián. Cast: Javier Bódalo, Miriam Martín, Víctor Amilibia. Spain 2016. 117 mins. 18. Thanks to Kevin I. Rodríguez/Platanobolígrafo.

 

For further information: www.frightfest.co.uk
Images: http://cloutcom.co.uk/picture-gallery/frightfest-glasgow-2017/

All press enquires:
Greg Day @ Clout Communications Ltd
07889 861646
greg@cloutcom.co.uk
@cloutcomcouk

 

Notes to editors:

ABOUT GLASGOW FILM FESTIVAL

The thirteenth annual Glasgow Film Festival will run from 15–26 February 2017. The full programme will be launched on the evening of 18 January, with tickets on sale to GFF members from 10am on 19 January and then on general sale from 10am on 23 January. Tickets for the Opening and Closing Galas will be available from 9 January.
GFF Membership is available to buy now for only £10, offering four days of advance booking, and discounts. See www.glasgowfilm.org/gffmembership for full information. Existing GFT CineCard members will automatically have GFF membership.

Notable guests visiting the festival in recent years have included Richard Gere, Alan Rickman, Joss Whedon, Terry Gilliam, John C Reilly, Saoirse Ronan, Richard Dreyfuss, Jonathan Glazer, Richard Johnson, Gemma Arterton, Ben Wheatley, Cliff Curtis, David Robert Mitchell, Carol Morley, Gemma Jones, Jason Priestley, Neil Jordan, agnés b., Armando Iannucci, Jack O’Connell, Dexter Fletcher, Peter Mullan, George Sluizier, Peter Capaldi, Ti West, Richard Ayoade, Eli Roth and Jean-Pierre Jeunet.

The twelfth annual festival, in 2016, opened with the UK premiere of the Coen Brothers’ star-studded Hail, Caesar!. Over 42,000 admissions were logged for GFF16, cementing its position as the third-largest film festival in the UK.

For information specifically relating to Glasgow Film Festival, please contact:
Ruth Marsh: ruth.marsh@glasgowfilm.org +44(0) 141 352 8615
Claire Gascoyne claire@clairegascoyne.com 07771 735117

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HORROR CHANNEL TO BECOME THE NEW EXCLUSIVE UK TV HOME OF THE RE-MASTERED “STAR TREK: THE ORIGINAL SERIES”


Sky 319 / Virgin 149 / Freeview 70 / Freesat 138

Horror Channel, owned by CBS Studios International and AMC Networks International, today announced that it will become the exclusive UK television broadcaster of “Star Trek: The Original Series” as of Wednesday, 4th January 2017.

“Star Trek” has aired on CBS Action, another member of the CBS UK channels portfolio since 2009, and its move to Horror Channel in 2017 comes as Horror Channel reinforces itself as the cult TV destination for the lovers of expertly curated horror and science fiction. “Star Trek” will be played out every weeknight at 6:00pm with a following weekday repeat at 9:00am.

Mike Moriarty, President, AMC Networks International UK and Central Europe, said today: “We are pleased Horror Channel will become the new exclusive home of “Star Trek: The Original Series” on UK television and for this iconic show to join our amazing line-up of well-loved and cult science-fiction and fantasy series and movies. We’re excited to boldly go with the original Enterprise crew on all their classic adventures.”

Horror Channel previously hosted the classic “Doctor Who,” a similarly sci-fi themed series with great success: Who on Horror, Horror Channel’s “Doctor Who” branded slot attracted over 3.8 million people during 2015. Irwin Allen’s “Land of the Giants” was the first series to attract over 100,000 adult viewers to a single episode and Horror Channel’s highest rating premiere series in the last 3 years.*

“Star Trek” celebrates its 50th anniversary in 2016.

* BARB/Techedge

Press contacts:
Greg Day, greg@cloutcom.co.uk Clout Communications 07889 8616
Adrienn Varadi, adrienn.varadi@uk.amcnetworks.com 0207 328 8742 / 07587 039774

About Horror Channel
Horror Channel is the UK’s original channel dedicated to the dark side of cinema and television. With an eclectic mix of ground-breaking and genre-defining content including niche, cult and box office smash movies along with fantasy, sci-fi and supernatural series, you’ll be entertained and terrified.

Available in over 26 million UK households, Horror Channel and timeshift channel Horror Channel +1 reach an average of 3.3 million adults every month. Popular shows include TV series Tales from the Darkside, The Invaders, The Incredible Hulk and Hercules: The Legendary Journeys; a movie portfolio spanning all horror genres featuring some of the most controversial films made in the history of horror.

Launched in November 2009, Horror Channel is part of the fastest growing portfolio of entertainment channels in the UK, a partnership between CBS Studios International and leading international broadcaster AMCN International – UK.

AMC Networks International – UK is a business unit of AMC Networks International which delivers entertaining and acclaimed programming to more than 140 countries and territories, including Africa, Asia, Europe, Latin America, and the Middle East.

Horror Channel: Be Afraid
TV: Sky 319 / Virgin 149 / Freeview 70 / Freesat 138

www.horrorchannel.co.uk \ twitter.com/horror_channel \ facebook.com/horrorchannel

 

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