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Nightmare Cinema: U.S. Premiere, NYC

November 24th, 2018

Taking a final lap in its tour of the world’s top genre film festivals, Nightmare Cinema is now racing toward its long-awaited US Premiere.

Earlier this month, the film finished its circuit of the UK with a screening at The Leeds International Film Festival, the film went on to play at El Festival de Cine Fantástico on the Canary Islands, where Producer-Director Mick Garris received the Festival’s del Premio Isla Calavera de Honor Award, a skull designed by special effects master Colin Arthur (The NeverEnding Story). From there, our film headed to the Land Down Under for its Australian Premiere at Monster Fest VII, where it received an enthusiastic reception at Cinema Nova.

Next up: New York City and a US Premiere at The New York City Horror Film Festival, where I’ll be joining Mick Garris at a Thursday night screening at Cinepolis Chelsea.

Other highlights of the NYC festival will include the Screenplay Competition. Among the finalists is The Blood Grinder – an over-the-top horror comedy that has already won Best Comedy Feature at the Austin Revolution Film Festival. One of the writers is Nick Schwartz, with whom I have been collaborating on an adaptation of my story “Prime Time!”

I’ll be posting reports from the scene next week. Until then, I’ll leave you with links to some more Nightmare Cinema’s reviews.

The first is one that I missed when it came out at the end of summer. The others are from the Leeds and Melbourne screenings. As in my previous posts, the quotes are followed by links to the entire review.

Here they are:

Alejandro Brugués’s segment is up first, and is easily the most entertaining of the bunch. It’s a send-up of classic teens-in-the-woods slashers, and it’s hilarious […]. From there, we’re taken to a debatably gifted plastic surgeon (from Joe Dante), then a giallo-inspired Catholic school gone horribly wrong (from Ryûhei Kitamura), an atmospheric black-and-white child’s horror (from David Slade), and finally a haunting hospital rumination on death and loss (from Mick Garris, who also directed the wraparound). All of the pieces are quite different, but they somehow fit together nicely. The flow, from funny to ultimately quite heartbreaking, shows the range of these directors as well as the scope that horror can span within a single genre. — High-Def Digest

“This Way to Egress”[is] a gorgeous monochrome descent into madness starring the ever-brilliant Elizabeth Reaser. — Flickering Myth

Hollywood’s most under-valued horror director, David Slade (Hard Candy, 2005; 30 Days of Night, 2007) provides the psychologically troubling vision, ‘This Way to Egress’. Shot in richly textured black-&-white, it stars Elizabeth Reaser (pictured, above; currently seen in the hit Netflix show, The Haunting of Hill House) as a mother of two brattish boys slowly losing her mind in the waiting room of her ‘specialist’, Dr Salvador (Adam Goodley). As time passes, the pristine office surrounds become overwhelmed by a dark filth; the faces of those that she passes in the halls grow increasingly deformed. Slades’ film is a masterful take on mental health, depression, social disconnection; while it foregoes the visceral horror of the film to this point, it is a warped walk in a convincingly disturbing, Cronenberg-esque realm. — Screen Space

There have been a lot of fantastic anthology horror films over the last decade with notable favourites of mine being The Theatre Bizarre, Trick R Treat and Tales Of Halloween. Other noteworthy titles include Holidays, XX and the ever popular VHS and ABCs of Death franchises. NIGHTMARE CINEMA is a worthy addition to this list and makes a point of difference by having a consistent quality of stories throughout. — FakeShemp.Net

Images:

  • New Your City Horror Film Festival logo.
  • Mick Garris receives del Premio Isla Calavera de Honor at El Festival de Cine Fantástico‘s official opening gala, Multicines Tenerife, Canary Islands.
  • Cover page of The Blood Grinder by Dave Conte, Nick Schwartz, & Matt Braunsdorf.
  • Sarah Withers in “The Thing in the Woods.” 
  • Nightmare Cinema poster from Monster Fest VII.
  • Elizabeth Reaser in “This Way to Egress.” 

 

Nightmare Cinema at Irish Film Institute

October 27th, 2018

Nightmare Cinema screened last night before a packed house at the Irish Film Institute. The event included a Q&A session with producer Mick Garris, who will also be screening his earlier hits Critters 2 and Sleepwalkers at the festival.

Next month, Nightmare Cinema returns to England for a screening in Leeds on November 9, then travels to Melbourne for an Australian premiere at Cinema Nova on November 23. After that, it returns north for two screening at The New York City Horror Film Festival on November 29.

Above: Mick Garris at IFI. Left: A full-house gathers in advance of Nightmare Cinema‘s Ireland premiere.

Clearly, Nightmare Cinema continues to be well received. Here’s a sampling of some of the latest reviews, many of which have singled out our “This Way to Egress” segment as one of the film’s standout episodes:

“This Way to Egress” [is] by far the slickest of the five in terms of production value. Shot in crisp black and white, as with his recent Black Mirror episode, Slade’s segment mines nightmarish, surreal imagery as a woman (Elizabeth Reaser) suffering depression finds herself in a bizarre form of purgatory. — “IFI Horrorthon 2018 – NIGHTMARE CINEMA,” Eric Hillis. The Movie Waffler.

A highlight is David Slade’s surreal black and white offering, “This Way to Egress” – a hideously realised Silent Hill-esque metaphor for mental health. Unshackled from the thematic limits of mainstream horror cinema, it is a treat for the seasoned horror fan. —  “Mayhem Film Festival 2018 – Nightmare Cinema,” Gemma Finch. Leftlion.

“This Way to Egress” combines the monochrome industrial landscapes of David Lynch with the body horror of David Cronenberg and Roman Polanski’s vision of mental illness — “Review Sitges 51 – Nightmare Cinema,” William Maga. Il Cineocchio.

It’s good to see the film connecting so well with its intended audience.

Above right: Figures conspire behind frosted glass on one of the nightmarish sets created by Lauren Fitzsimmons. 

Above left: Elizabeth Reaser in her riveting performance as Helen, desperate to find a way out of a deepening nightmare.

So when does the rest of the world get to share our nightmares? Soon. I have it on good authority that an announcement regarding the release is imminent. When that news breaks, I’ll be sure to report it here. For now, I’ll leave you with a new video interview recorded this week at IFI featuring Mick Garris on the dream that became Nightmare Cinema.

Here's Mr Mick Garris giving the lowdown on Nightmare Cinema. More to come with his interview from 20.20 this evening! https://ifi.ie/horrorthon-2018-nightmare-cinema/

Posted by Irish Film Institute (IFI) on Friday, October 26, 2018

UK Premiere:
Nightmare Cinema & “This Way to Egress”

October 7th, 2018

I first read Traumatic Descent – Larry Connolly’s short story that would be adapted into “This Way to Egress” 17 or 18 years ago.

Soon after I worked with my dear friend Charly Cantor on ideas to adapt the story into a feature-length film which Charly would write. I loved Charly like a brother and he passed away in 2002 leaving a gaping hole in me.

I would describe the story as a dark but benign fog that infiltrated my subconscious. It resonated for me in ways that took all of this time to become clear.

I’m grateful to Mick Garris and most of all to Larry for allowing me to complete part of this project. It does not fill any part of the hole but it helps.

David Slade, director of “This Way to Egress”

Saturday was the day it all came full circle, some 18-years after two young filmmakers from Sheffield reached out to this American writer to begin work on a project that became “This Way to Egress.”

In the Q&A session that followed our UK premiere, I got the chance to unpack the journey in more detail – first in responding to questions from festival director Simeon Halligan and then in conversations with the audience.

Along the way, I was able to able to acknowledge the debt that both David and I owe to Charly Cantor, so much so that I felt his presence. It was – as I predicted it would be in an earlier post – like coming home.

The day of our premiere also provided the opportunity to discuss Nightmare Cinema and “Egress” at length in a couple of recorded interviews – one with the website FilmDaddy.com and the other with Simeon Halligan (above left) for the festival’s video feed. Both should be available soon.

There was even some time for ice-breaking, where  I got the chance to throw axes at targets courtesy of an establishment called Whistled Punks. My friendly competitors in the event included Witch in the Window director Andy Mitton and festival director Rachel Richardson-Jones (right). That’s us, posing like ax-wielding superheroes even though it was Horror Channel director Stewart Bridle and Grimmfest photographer Kenneth James who proved to be the true ax-tossing masters.

Grimmfest continues apace, wrapping up tonight with an awards reception and the much-anticipated Christmas-themed-zombie-fest Anna and the Apocalypse. I’ve heard good things about that one.

Nightmare Cinema’s next festival appearances will include screenings in Stiges, Toronto, Nottingham, Sheffield, Leeds, Dublin,  Vienna, and beyond. It’s all part of what we might call the Nightmare Cinema World Tour … so there’s sure to be much more news in the days ahead. Be sure to check back soon. And don’t sleep. Nightmares are coming.

Images:

  • The projected backdrop for the Nightmare Cinema Q&A session at Grimmfest. The photograph is from the “Mashit” episode, directed by Ryuhei Kitamura and written by Sandra Becerril.
  • The 21st-Century Scop in a video interview with festival director Simeon Halligan.
  • Standing tall with fellow ax throwers Andy Mitton and Rachel Richardson-Jones at Whistle Punks.
  • Witch in the Window director Andy Mitton wields an ax.

 

Fall Premieres:
Mexico, England, Canada, Spain, Austria …

September 23rd, 2018

… a world of nightmares.

Since premiering at The Fantasia International Film Festival in July, Nightmare Cinema has gone on to screen at some of the world’s most prestigious film festivals devoted to fantasy, science fiction, and horror.

So far this month, NC has played on both sides of the Atlantic, first in a French premiere at Le Festival européen du film fantastique in Strasbourg on September 17 and then at Feratum Film Fest in Tlalpujahua, Mexico, on September 22.

Both Sandra Becerril and Mick Garris attended the Strasbourg event (see the video at the bottom of this post), and Sandra (left) was on hand in Tlalpujahua.

In the coming weeks, things are about to kick into high gear with multiple screenings already announced for England, Canada, Spain, and Austria.

Here’s how things look at the moment. (The list updates the Fall Festivals & Events post from earlier this month):

It’s an impressive line-up, and one that hopefully gets us ever closer to a greatly anticipated US premiere and a release to theaters and home video.

I’ll keep you posted. For now, check out the video below, recorded a couple weeks back at Le Festival européen du film fantastique in Strasbourg, France.