A confident coming of age horror that focuses more on the ever-changing dynamic between parent and child. The Adams family has made a very surprisingly effective film in Hellbender. One that does so much right and very little wrong – a fantastically refreshing film. Teenager Izzy (Zelda Adams) lives a
With Glasshouse, Kelsey Egan has conjured a beautifully haunting film. This dystopian fairytale weaves quite a tragic tale highlighted by the excellent performances and strong use of storytelling. Egan marks herself out as a filmmaker to watch out for. A dementia induced toxin known as the Shred has enveloped the
Takahide Hori’s painstaking stop motion film has take over a decade to get to this point and despite a wayward narrative, this is an awe-inspiring piece of work that should be celebrated as widely as possible. Unforgettable.
Richard Bates Jr’s film King Knight is full of ridiculousness, from the characters to the situations, yet it never forgets the message of finding acceptance in ones past – a comedy that hits all of the right notes.
A joyous & dreamy look at a young person taking that big step into independence & finding oneself, April Story is as relatable now as it was in 1998. Engaging as it is poignant, its simple story gracefully guides you along.
Carrying on from the excellent Climate of the Hunter, filmmaker Mickey Reece brings us a film full of mood and isolation. Reece is ambitious here with Agnes, and he manages to pull it off with a great film that is a must-watch.
Richard Bates Jr.’s KING KNIGHT, Tsutomu Hanabusa’s KAKEGURUI 2: ULTIMATE RUSSIAN ROULETTE, Mark O’Brien’s THE RIGHTEOUS, Daigo Matsui’s REMAIN IN TWILIGHT, Edoardo Vitaletti’s THE LAST THING MARY SAW, and Shunji Iwai’s THE 12 DAY TALE OF THE MONSTER THAT DIED IN 8 among the first titles announced for the festival’s