
CHÂTEAU
Filmmaker Luke Genton tells the story of a wannabe influencer living in Paris looking for a hook. Short on cash, she accepts a cleaning job, not knowing the location is an infamous murder castle. Thinking this might be her internet 15 minutes, she brings her nonexistent audience on the job. CHÂTEAU gives Popcorn Frights 2024 the YouTube ghost-hunting treatment.
Taking a page out of The Blair Witch Project and campy reality show Ghost Adventures, the format goes a step further, combining a lot of screen editing – past YouTube investigators, video calls, research blogs, and James’ real-time recordings. It is a clever move showing the audience her elaborate steady can rig.
The location boasts stunning architectural features, a winding staircase, sprawling grounds, chandeliers, and a full-sized barn with creaky rafters. Genton does a fantastic job utilizing James’ particular room to shoot a lot of set-ups. As well as classic haunted house tropes, like lingering on over-the-shoulder door frames and panicked running in circles.
The plot twist 30 minutes into the film caught me off guard. It was refreshing and kept me engaged. Another unexpected shift, delving into James’ unresolved trauma, sets the tone for the film’s remainder. The forced POV continues to be entirely unsettling. The jump scares are earned. The makeup team does a fine job with the progressive looks.
The camera loves Colton Tran. He steals every scene he’s in. Tran is effortlessly charming, and I wanted to see more of him. That does not take anything away from Cathy Marks essentially performing a one-woman show. She’s likable and down-to-earth. Marks easily carries the film, ultimately grabbing viewers with her backstory.
Slow clap. One last twist takes the cake, and the final performance is smashing. Bravo. CHÂTEAU is a fun entry into the found footage subgenre.
YEAR: 2024
COUNTRY: USA
RUNTIME: 83 min
DIRECTOR: Luke Genton
WRITER: Luke Genton
STARRING: Colton Tran, Cathy Marks


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SHOUTING AT THE SEA


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For all things Fantasia 2024, 
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Montreal-based comedy duo Emelia Hellman and Nancy Webb (Hellgirl Productions) bring their paranoia-fueled short Bangs to Fantasia Festival’s Fantastiques week-ends du cinéma québécois this summer for the film’s Canadian premiere.

DETAINED

Laz Alonzo does a fine job as the hypermasculine group leader, doing his best to keep up with Cornish. Speaking of, Abbie Cornish owns this role. It’s a tour de force. From the moment we see her, it’s already over.
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Abandonment and unresolved trauma collide with a monster movie and mad scientist in Tilman Singer‘s (

Nerea Barros captivates as the titular character. She walks a perfect line between anxiety and persistence. Barros becomes a feminist icon we so desperately need.
The script plays like one carefully curated test after another, skillfully crafted to test Rob’s and our moral compass. screenwriter Dan Kelly-MulhernIt has Nina lull Rob into a sense of safety and care, playing on his desperation and redemption arc. The double-entendre dialogue is delicious.
Eddie Izzard owns the titular role of Nina Jekyll. Delivering two fully fleshed-out personalities, one can only imagine the personal stake in Izzard’s performance. She is utterly mesmerizing, devouring Kelly-MulhernIt’s versions of Nina and Rachel. It is one hell of a turn.
DOCTOR JEKYLL is endlessly intriguing, playing on the raw emotions and hitting every horror note, with precision. The finale is visually spectacular. DOCTOR JEKYLL is a prime example of keen manipulation.
DIRECTOR Joe Stephenson
Desperate to keep her promise to host the best superhero party for her 6-year-old, young mother Sid, a sex worker, takes extreme measures and books a last-minute client with a dark fetish. Dirty Bad Wrong is a drama/body horror that explores the darkest sides of capitalism, and just how far we’ll go for the ones we love.
Life changes when you become a mother. It is impossible to describe to someone who has never protected another human with every ounce of their soul. In
Jack Greig
A commentary on environmental and economic realities, Eunkyoung Yoon‘s Fantasia 2024 feature THE TENANTS hypnotizes with Kafkaesque absurdity in stunning black and white.
THE TENANTS cleverness is through the roof, no pun intended. The fact that Shin-Dong’s landlord is a child makes all the sense in the world to anyone who has stepped into the rental arena in a major city. The near future visual indications, like projected video calls and digital advertising, are seamlessly integrated.
Kim Dae-gun is quietly magnetic as Shin-Dong. Perfectly playing off the enormous physical aura of fellow cast member Heo Dong-won. The audience feels sufficiently sad for him. Shin-Dong’s evolution is mesmerizing, causing viewers to question their morality meter and sanity. THE TENANTS says the quiet parts out loud and is a creative forced look in the mirror.
Directors Julien Maury and Alexandre Bustillo craft an intricate mystery that intertwines folklore and crime. Screenwriters Annelyse Batrel and Ludovic Lefebvre skillfully adapt the French novel by Alexis Laipsker, keeping audiences off-kilter and second-guessing.
Performances from our two leads are stellar. Virginie Ledoyen gives Elisabeth deep personal darkness stemming from unimaginable loss. Paul Hamy makes Franck down to earth in an indescribably tangible way. Their chemistry is a fantastic mix of caution, stubbornness, and authentic partnership. They make a genuinely solid on-screen team.
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Ashleigh Cummings and James Cosmo ground the narrative with emotionally wrought performances. Kit Harington proves yet again his ability to fill a frame with little more than a facial expression. Harington keeps the audience on their toes with fierce volatility. His chemistry with fellow cast members is alarming.
Caoilinn Springall delivers an astonishing turn as young Willow. Her performance in Stop Motion turned heads. Her vulnerability and fierce curiosity keep you entranced every second. She is a star. 

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Graphic novel animation serves as visually delightful childhood memories surrounding Lola’s backstory with the villain. The poster is undoubtedly an homage to Black Christmas, and the classic trope of a killer in a Santa suit plays, ala Silent Night Deadly Night, still rules.
Jeremy Moineau gives Lola an effortlessly badass persona but beautifully balances toughness with authentic vulnerability. Her monologue about the town’s history is perfection. 
ONE FOR THE ROAD
Based on a Stephen King story, Daniel Carsenty‘s short film ONE FOR THE ROAD is here to terrify LA Shorts International Film Festival audiences with its world premiere. 
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