FANTASIA 2024
It’s no secret that Fantasia is the festival I gush about the most. If you want to call yourself a genre film fan you have to know about the buzziest films coming out of the fest each year. Once again, Quebec will host a plethora of premieres, a gaggle of talks with the industry’s best, and scare the pants off of you. Would you expect any less? Fantasia 2024 is the 28th edition of this wonderfully wacky cinephile playground.
IN OUR BLOOD Fantasia 2024

Nothing is as it seems when filmmaker Emily Wyland (Brittany O’Grady) teams up with cinematographer Danny (E. J. Bonilla) to shoot an intimate documentary about reuniting with Emily’s estranged mother after a decade apart. When her mother suddenly goes missing, possibly succumbing to the addictions that first tore her family apart, Emily and Danny must piece together increasingly sinister clues to find her before it’s too late.
Directed by Oscar-nominated documentary filmmaker Pedro Kos (Rebel Hearts, Lead Me Home) in his first narrative feature, IN OUR BLOOD masterfully blends psychological mystery with chilling horror. The film weaves a twisted tale of reconciling with the ghosts of our past and confronting the complicity we share in creating a world that preys on the most vulnerable.
HELL HOLE Fantasia 2024
A road trip through Canadian oil fields conjured up fantasies of secrets deep in the dirt for the Adams family, and inspired them to create HELL HOLE, an indie rock-n-roll monster movie set at a far-away fracking site. Known for their DIY ethos, John and Lulu Adams and Toby Poser, partnering with Shudder, have joined the team behind The Last Drive-In with Joe Bob Briggs and FX legend Todd Masters to shoot their latest in Serbia with a local cast and crew. Absurd, mutinous, and transgressively comical, Hell Hole is old-school sci-fi horror, yet in typical family fashion, they subvert the genre with textures of biological and environmental horror in tandem with questions of gender and bodily autonomy. This will be the fourth time Fantasia World Premieres work from the gifted filmmaking family, following launches of THE DEEPER YOU DIG, HELLBENDER, and WHERE THE DEVIL ROAMS. World Premiere.

The haze of childhood is a magic lantern that throws light on the wall through a veil of dark both frightening and exciting, and nowhere is this better articulated than in THE BEAST WITHIN (previously titled WHAT REMAINS OF US). Kit Harington (GAME OF THRONES, ETERNALS) is a father with a secret that he is desperately trying to keep under control. His mysterious excursions at night leave his ailing daughter (Caoilinn Springall, THE MIDNIGHT SKY, STOPMOTION) plagued with questions. The old, timeless house in the woods that she lives in with her caring mother (Ashleigh Cummings, NOS4A2) and absent father feels more like a haunted castle than a loving home. As she investigates her father’s bizarre and dark behaviour, a monstrous figure emerges from the shadows, terrorizing those who encounter it. Supported by her grandfather (James Cosmo, HIGHLANDER, BRAVEHEART), she attempts to unravel the mysteries of the creature, and the revelations that she discovers will rock her family and leave her forever changed.
FRANKIE FREAKO Fantasia 2024
After the success of PSYCHO GOREMAN, FX artist and director Steven Kostanski hits back with the zany, over-the-top FRANKIE FREAKO! Starring Conor Sweeney and Adam Brooks of Astron-6 fame, the film follows a nerdy man who just isn’t cool. In an attempt to impress his wife and boss, he’s lured by a 1-900 TV ad to party with a strange little creature called Frankie Freako. All hell breaks loose when Conor calls and Frankie and his two friends wreak interdimensional havoc in Conor’s life. Kostanski fans will flock to his latest imaginative adventure, saturated with throwback cartoonish fun à la GHOULIES, wildly creative puppets, big laughs, and a helluva good time! Septentrion Shadows section. World Premiere.
THE CODE Fantasia 2024
Peter Vack (ASSHOLES) and Dasha Nekrasova (THE SCARY OF SIXTY-FIRST) star as couple on the rocks during the early part of the Covid-19 pandemic in American filmmaker Eugene Kotlyarenko (SPREE)’s latest, THE CODE – a generation-defining, wickedly dark comedy that blends post-New Wave French sensibilities of aesthetic disillusionment with a singularly alien view of contemporary American life. A transgressive and singular experience, nothing is off limits in this surveillance-heavy narrative, which uses multiple formats, points of view, and cameras to create a visionary collage-like experience of modern life. An epic poem for our post-pandemic world. Underground Section. World Premiere.
BLACK EYED SUSAN Fantasia 2024
It’s been 21 long years since Scooter McCrae (SHATTER DEAD) released a new feature, and he’s lost none of his smart, transgressive bite. Desperate for work, Derek (Damian Maffei, THE STRANGERS: PREY AT NIGHT) accepts a job at a shady tech start-up, working intimately with Susan (Yvonne Emilie Thälker in a powerful debut role), a bleeding-edge BDSM sex doll meant to receive and appreciate sexual punishment as an integral part of her evolving AI. Shot on Super 16, BLACK EYED SUSAN counterbalances its dark, vulgar core with a surprisingly tender vulnerability, creating a lo-fi science-fiction landscape infused with surprising fragility, as legendary Italian composer Fabio Frizzi (THE BEYOND, ZOMBIE) lends the picture a lush, atmospheric backdrop. Not for the faint of heart, BLACK EYED SUSAN delves into themes and questions that will only become more pertinent with the continued evolution of artificial intelligence. World Premiere.
CHAINSAWS WERE SINGING Fantasia 2024
A true DIY passion project from Estonian filmmaker Sander Maran, CHAINSAWS WERE SINGING is a zany, blood-soaked musical about lovers split up by a chainsaw-wielding killer. Over a decade in the making, Saran not only directed but wrote, scored, shot, and edited this colorful murder-fest that’s part gory horror movie and part ridiculous musical. The camerawork is inventive, the editing slapstick, and the tone truly absurdist. Most importantly, though, the songs are incredibly catchy, with Sander clearly deeply indebted to Trey Parker and Matt Stone’s CANNIBAL! THE MUSICAL and Frank Oz’s LITTLE SHOP OF HORRORS. Underground Section. International Premiere.
THE CHAPEL Fantasia 2024
The stunning sophomore feature from award-winning director Carlota Pereda (PIGGY), THE CHAPEL marks the fantastic return of atmospheric, character-driven supernatural Spanish horror. Emma (Maia Zaitegi) wants to learn how to communicate with the spirit of a little girl who has spent centuries trapped inside a chapel. She tries to convince Carol (THE ORPHANAGE’s Belen Rueda), a cynical and fake medium, to help her in the hopes that contacting the spirit may help her to remain close to her dying mother after she passes. What Carol doesn’t suspect is that Emma really does have “the gift” and, if she keeps on trying to use it without her guidance, she will be putting her young life at terrifying risk. Winner: Best Actress, Belen Rueda, Cinefantasy 2023. Official Selection: Sitges 2023. North American Premiere.
BORN OF WOMAN 2024 Fantasia 2024
https://fantasiafestival.com/en/program/born-of-woman-2024
My favorite shorts collection of the year, this wildly eclectic and insanely talented group of female filmmakers aims to please, shock, and gag audiences. You never know what you’ll get with each passing year and I get giddy in anticipation. Fantasia 2024’s Born Of Woman lineup includes the following films:
Nahema Ricci stars in this sharply staged build piece expressionistically conveying a person’s realization that they’d rather not fit in, if it means continuingly giving in.
An outright bonkers stop-motion freakazoid about a woman, a laundromat, and a missing sock. From the makers of SEXY FURBY.
A reclusive woman gives everything she can to a blood-sucking flower that she’s devoted every waking minute towards caring for.
MOSQUITO LADY (see our previous coverage)
A sharp intersection between Filipino folklore and the ever-devolving issue of bodily autonomy in the U.S.
A stylishly inventive and considerably bloody take on the one-terrible-day film.
LES YEUX D’OLGA
A senior vampire who moves herself into an elder care facility so as to feed solely on those already at the edge of death.
We’ve all had the annoyance when forced to solve wonky online captchas to convince a website that we’re real-deal human. What if we were to repeatedly fail it?
Following the extraordinary DANA, Spanish filmmaker Lucía Forner Segarra returns to Fantasia with BERTA, a tensely compelling new work that continues her explorations of accountability and empowerment following gendered violence.
(You can find past Born of Woman coverage here) Fantasia 2024
THE BLEACHER
WILDFLOWER
DEAD TOOTH



The heightened sound editing by Andrew Siedenburg and Nikolay Antonov is a character in the film. There is no better way to articulate its effect. The camera work from Lidia Nikonova swings from following closeups to static long takes, and it is nothing short of magnificent.
There is a theatrical delivery of much of the dialogue. Deragh Campbell is marvelous playing Katy. She delivers a compelling performance, reminding us how much we rely on the family matriarch to set our boundaries. Campbell’s pervasive anxiety flows on the screen.
The film brilliantly captures the poetic chaos of family gatherings. A myriad of intimate vignettes are all swirling together in an authentic picture where time loses all meaning. FAMILY PORTRAIT is haunting in so many ways. It will leave you breathless and wanting more.
Performances from the entire cast are magnificent. Yoav Levi is Captain Hayim Amzalag, the prisonguard tasked with orchestrating the clandestine plans for the most valuable prisoner of war. Hayim’s anxiety manifests in a toothache, a burst blood vessel, and digestive issues as he dodges the press. Levi brings a dazzling physicality to the role. You will not soon forget him.
Noam Ovadia is David, a precocious, tenacious, Lybyan-Israeli who identifies as an Arab and Sephardic Jew learning perspective on the Nazis. Procuring an after-school job, David uses his quick-witted brain to solve problems. Ovadia is a star. It is an award-worthy turn. He outshines every other cast member.
Tom Shoval and Paltrow wrote the screenplay. In the third storyline, we explore Micah (Tom Hagi
A celebration of family-friendly indie filmmaking, Invaders From Proxima B has arrived to delight the budding cinephile. Ward Roberts brings audiences a whimsical story of intergalactic mayhem.
Bo Roberts is a natural as daughter Ruby. Her comic timing is a hoot. Samantha Sloyan is effortlessly charming as Mom, Jane. We get both sitcom motherly goodness and slackstick joy from Sloyan. She is a dynamo.
The inspiration from Disney’s Lilo and Stitch is unmistakable, but Invaders From Proxima B has an edgier narrative. I’m not exaggerating when I tell you Chuck’s first line of dialogue elicited a genuine guffaw from my mouth. Incredible Seusian animation acts as transition storytelling. The editing and use of GoPro add to the kid-centric perspective. This alien invader, body-swapping comedy is a laugh-out-loud, enchanting watch for the weekend. Check it out!

The narrative shifts into a visionary anthology of stories as Nathan moves through the levels of Hell. The progression feels like the dark films by Jim Henson in the 80s, but PANDEMONIUM takes it to an entirely new level of demented. It is the definition of French Extreme Cinema.
Hugo Dillon is Nathan. He is the only constant in PANDEMONIUM. We have pieces of his story, but only what he reveals. Dillon delivers a brilliant performance filled with fear, disdain, and bargaining. He’s phenomenal.
An imaginative descent into the personal Hell we create, PANDEMONIUM is like nothing you’ve seen before. 


Lani Call gives Elizabeth a dour and macabre personality. Bravo for her commitment to the role. The screenplay from director Richard R. Williams, Costanza Bongiorni, and Tom Jolliffe does not give her a moment of ease. HOUSE OF SCREAMING GLASS is a one-woman show that gets weirder and grosser by the minute. 
The effervescent joy of being in the room fully translates from the screen. You’ll find yourself smiling until it hurts. LAUGH PROUD features multigenerational comics. The sets range from serious to hysterical. Many comics discuss childhood trauma, coming-out stories, dating, technology, patriarchal structure, aging, and everything in between. A loving and supportive energy is beaming between the performer and the audience. It is an inviting and celebratory special.




YOU ARE ALWAYS RIGHT HERE, XERNONA CLAYTON: A LIFE IN BLACK AND WHITE
NEGRITA
THE LAST STOP IN YUMA COUNTY
Jim Cummings proves once again that his high-strung straight guy routine is gold. His eye for unique projects as an executive producer remains top-notch. His entire look, down to his Archie comic red hair, is perfection for The Knife Salesman. (Yes, that is his actual character’s title).
Jocelin Donahue brings authenticity to small-town waitress Charlotte. She is so watchable. Sierra McCormick (We Need To Do Something) is a delight as aspiring bank robber Sybil. She’s another bright spot in this wild ensemble cast.
Faizon
Richard Brake
BLOOD FOR DUST
Years after some shady dealings haunt a group of business associates, Cliff tries to provide for what’s left of his family. As a floundering traveling salesman, his past finally catches up, forcing his hand into a new scheme with an old friend.
Scoot McNairy gives Cliff a palpable desperation and a fearlessness that captivates. He does not flinch. McNairy effortlessly carries the entire film. Kit Harington is unrecognizable as Ricky. His ultra-toxic masculinity drips off the screen. His physical and vocal work are unreal. His deliciously standoffish chemistry with Scoot McNairy makes the film.
This crime drama brings fantastic performances and a well-developed script. Cliff’s character has baggage and secrets that fuel his ultimate motivation. The slow-burn thriller pays off in spades with an explosive finale. Keep your friends close and your enemies closer. BLOOD FOR DUST challenges your idea of both. An unexpected story of redemption, it is a solid genre entry. Slow clap for the last frame.

The fragility of Jeanne’s station and extraordinary influence are beautifully nurtured by Lavernhe’s continuous narration.
Benjamin Lavernhe delivers an unforgettable performance as La Borde. He is Jeanne’s guide to life at court and the only entirely human interaction anyone encounters. Lavernhe is the emotional stronghold of the film.
Maïwenn gives Jeanne a ceaselessly passionate and curious air. Her gentle elegance and care for her fellow actors beam off the screen. She is nothing less than captivating. Depp and Maïwenn’s chemistry is off the charts. She and Lavernhe take your breath away.
Director Jennifer Takaki includes sweet animation sporadically playing under Corky’s narration. The film mixes personal footage and stills from Corky, the camera always in hand on the streets of Chinatown, old news interviews, and scenes of his relentless kindness towards the younger generation of aspiring photographers.
PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY comes at a time in American history when Asian hate crime continues its uptick. Logging the cyclical violence and ignorance of the general population is vital to understanding the importance of the film. 
PRATFALL
Filmmaker Alex Andre captures an unusual connection between two strangers. PRATFALL walks a highwire of intimacy, trust, and confession. It’s a powerfully human story through the lens of two culturally diverse individuals.
Filmed predominantly on the Upper West Side (trust a local gal to recognize every street corner in the opening scene), moving its way east, then south through midtown and back, the hand-held cinematography lends to the intimacy and claustrophobia of Eli and Joelle’s inner turmoil. The classical score lulls you during the long follow shots. The upbeat soundtrack is a fantastic foil. 

The first official appearance of our titular character is startling. Anne Müller‘s is dazzling. Her jarring physical performance makes BAGHEAD relentlessly unsettling.
Freya Allan plays Iris with equal parts frailty and fearlessness. You cannot take your eyes off her. Someone, please write a film featuring her as a young version of Juliette Lewis because the resemblance is uncanny. Take my money now.

Summoning Sylvia


Jessie Buckley is flawless as a foul-mouthed immigrant single mother, Rose Gooding. Buckley’s fierce spirit proves perfection for the role. She and Colman share a delicious chemistry, and I beg the industry to pair them together in future projects.
A massive thank you to screenwriter Jonny Sweet and director Thea Sharrock for gifting audiences with a dazzling story about complex, fearless women. The script is a creative commentary on repression, patriarchal rule, female friendship, and freedom of expression. You’ll be doubled over with laughter at the ceaselessly imaginative insults in the letters. The unadulterated glee in hearing these words feels naughty in a rather freeing and celebratory way. WICKED LITTLE LETTERS is the best fucking film of the year.
An ancient evil affects the firstborn children of a wealthy family with uncontrollable wailing in their dreams. Eager to cash in, a team of macabre experts takes on this new client. As they dig deeper into this unique case, the usually confident group discovers they are in over their heads. In EXHUMA, that’s only the beginning of this horrifying tale.
Performances are magnificent across the board. This spectacular multi-generational ensemble cast delivers engrossing mystery and terror. The script unfolds in chapters, like a how-to guide dealing with the underworld. Descriptions of rituals and occupational titles come in narration from the team. This creative storytelling immerses the audience in what feels like an inevitable tragedy. Complicating things further are the secrets our wealthy family hides. Genre fans will have a field day with horror canon balanced with the slightest touch of humor and serious gore. It is beyond compelling.
Mixing tradition and superstition combined with an ominous score makes the hairs on your arms stick straight up. It’s a multi-sensory watch. EXHUMA deserves your full attention from the very first frame. There is so much meat on the bone. Expanding this world almost certainly feels possible and welcome. At its current runtime of two-plus hours, viewers would eat up more stories from this team. Their chemistry is magic, and a franchise would delight fans. The twists and turns keep coming. EXHUMA is undeniably one of the most intriguing cinematic experiences of the year.
Visit the official film page: 




Filmmaker Kailee McGee shares snapshots of her innermost thoughts on her journey with breast cancer. Tongue in cheek, manic, clever, stream of consciousness, unfiltered, and hilariously meta, CAN feels revelatory. It is celebratory irreverence. McGee makes her situation relatable and palpable. She is raw and funny as hell. I would 1000% watch a feature-length version. It has that “it” factor, and McGee owns every bit of its magic.



Riley Dandy (
Fast fashion and exploitation. The popular teen brand Brandy Melville comes under the microscope in a new documentary feature premiering at SXSW 2024 Brandy Hellville & the Cult of Fast Fashion. In the film, former employees discuss how they got hired, the company’s everyday practices, and the fallout of their exposure.
You must be logged in to post a comment.