A city couple relocating to a home in the forest discover a commune on the neighbouring land is home to a cult of sasquatch worshippers harbouring sinister secrets...
When I began to flesh out my thoughts and hastily scribbled notes on The Black Cat , I ended up spewing forth a tangent about why I find Lucio Fulci’s film work so utterly repellent, disturbing, depressing and horrifying. Below is said tangent, and the review of The Black Cat (tangent free, sort of) can be found here . Of the countless schlocky, ultra-violent, reprehensible, disposable, exploitation-laden fare this writer has watched over the years - and the plethora of distasteful, disturbing, mind-numbingly deplorable and brain-botheringly wretched imagery I’ve witnessed as a result of watching such fare - one filmmaker and his work stands apart from the others when it comes to creating genuinely upsetting, avert-your-gaze-from-the-screen-in-disgust moments. Lucio Fulci is a director most fans of horror cinema will be familiar with. Heck, many of them will even own some of his work on DVD or something called VHS. My own experience of watching Fulci’s work is quite limited. I fi
David Lynch’s beautiful, nightmarish and deeply unsettling Lost Highway contains more than its fair share of intense and disturbing moments. The opening scenes alone are, in my opinion, amongst some of the most uneasy, upsetting and creepy moments of cinema. Lynch effortlessly creates such a feeling of anxiety in these opening scenes, and all without anything much really happening. Unhappily married couple Fred and Renee Madison (Bill Pullman and Patricia Arquette) blankly wander around their dark and foreboding home. Fred appears to suspect Renee of being unfaithful and she does nothing to alleviate his suspicions. Videotapes containing footage of the outside of their house begin arriving. Eventually one of the tapes contains footage shot inside the house and reveals Fred murdering Renee. A bizarre encounter with a mysterious man at a party flings events further into overtly abstract territory. The mystery man tells Fred they've met before. Where? "At your house, remember?
A few months back I interviewed director Ryan Haysom about his short neo-giallo Yellow , the influence of by-gone Italian horror and the morbid allure of black leather gloved killers, glinting switchblades and bloody ultra-violence. With the film now screening at various festivals around the world, and going down a storm with critics and audiences alike, I thought it was as good a time as any to catch up with Mr Haysom and the makers of Yellow . Joining us in donning black leather gloves and talking about the film are cinematographer/writer Jon Britt and producer Catherine Morawitz. How did you come up with the story for Yellow ? HAYSOM : I am a big Italian horror fan and I’ve always wanted to make a giallo-styled film, so it’s always been in the back of my mind. Jon and I share a very similar experimental aesthetic when it comes to our ideas on cinema. When we decided to actually try and create a film, we were going in the same direction from the very start and it felt very or
Comments
I like the premise. Could definitely get behind a sasquatch-worshipping forest cult, and you've got to love a 90 minute run time!!