“The trade-offs we make to be part of society” – Talking 1BR with director David Marmor

1BR, which I reviewed recently, was one of those great screeners which managed to surprise me whilst clearly also paying due respect to existing genre features. This is a skill which not everyone can demonstrate, much less in their debut feature, so I reached out to the director, David Marmor, to find out a little […]

Peripheral (2018)

I’ve enjoyed following director Paul Hyett’s work to date: The Seasoning House and Howl both made great use of confined locations and escalating ordeals, whilst I had some misgivings with the latter film; we have something different altogether with Peripheral, however, as we delve into ‘tech terror’, combining age-old anxieties with the shock of the […]

Mr Vampire (1985)

In a world of Elevated Horror, Intelligent Horror, Woke Horror and horror that desperately wants to be ‘of the moment’, there’s a definite pleasure to be had from seeing a film that does not hold both the genre and its audience in thinly-veiled contempt. The joys of Mr Vampire are, for the most part, lightweight […]

Neraterræ – Scenes From The Sublime

Whilst it’s quite usual to hear of albums which are based on, or influenced by cinema or literature, it’s still a rarity to find albums which hinge entirely upon art. Neraterræ – the musical project of Alessio Antoni – has recently released an album which does just that, taking for its inspiration a range of […]

Two Ways to Go West (2020)

The second feature-length film by noted graphic designer Ryan Brookhart, Two Ways to Go West moves outside of the horror genre and endeavours to explore the big topics: personal demons, unspoken truths, repercussions. However, the style and approach it takes doesn’t really serve its themes; whilst visually sharp, it can feel tonally erratic, and badly […]

Lamia Vox: Alles ist Ufer. Ewig ruft das Meer (2020)

Based in Russia, one-woman ambient project Lamia Vox has been recording for some years now, with first album Sigillum Diaboli emerging in 2013. Magical belief and practice have always underpinned Alina Antonova’s work; with the new release Alles ist Ufer, however, the literary and occult influences are broader in nature, tending towards the idea of […]