
CARNAGE FOR CHRISTMAS

Alice Maio Mackay‘s fifth film makes its Montreal premiere at Fantasia 2024. CARNAGE FOR CHRISTMAS finds a murder podcast host answering a listener’s question, “How did you get into true crime?” Lola recounts a childhood hometown legend, then returns to said location for the Christmas holidays.
When the town’s queer population starts getting murdered, and with a sudden uptick in sightings of The Toy Maker, Lola digs into her expertise and goes over the heads of the local cops to try to find the killer.
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.
The practical FX team nails it, aided by the slick editing. Speaking of, the editing and featured neon lighting feel like a calling card for Mackay and editor Vera Drew, Aka “The People’s Joker.” (A must-see feast for the eyes) If you’ve seen Mackay’s 2023 film T BLOCKERS, you’ll understand she’s building a brand here.
Jeremy Moineau gives Lola an effortlessly badass persona but beautifully balances toughness with authentic vulnerability. Her monologue about the town’s history is perfection.
Alice Maio Mackay provides a creative space for trans artists to thrive. CARNAGE FOR CHRISTMAS has a solid mystery and great performances. It is another sweet notch in Mackay’s stylistic belt.

AUSTRALIA 2024 70 MINS OV ENGLISH
GENRE Drama, Horror, LGBTQIA2S+
DIRECTOR
Alice Maio Mackay
PRODUCER
Alice Maio Mackay
WRITER
Alice Maio Mackay, Ben Pahl Robinson
CAST
Zairf ., Dominique Booth, Olivia Deeble, Jeremy Moineau, Tumelo Nthupi
COMPOSER
Alexander Taylor
EDITOR
Vera Drew
Remaining Screenings of Carnage For Christmas:
Salle J.A. De Sève
PRESENTED WITH Elves on the Edge
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Synopsis



The production design by Lauren Kelly delivers visuals that are startling and sneaky. Creepy art pieces, like the anatomical drawing behind Ted’s desk to the Rorschach paintings, hung in the house subconsciously keep you off kilter. Darcy’s shop even houses director Damian McCarthy‘s disquieting rabbit from his 2020 terrifier CAVEAT.


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 
After the success of
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 (
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.
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 stunning sophomore feature from award-winning director Carlota Pereda (
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:
THE BLEACHER
WILDFLOWER
DEAD TOOTH
Tribeca 2024 Shorts

Short | United States, France | 18 MINUTES | English, French | English subtitles

Legendary underground filmmaker Scooter McCrae (SHATTER DEAD, SIXTEEN TONGUES) returns after a 21-year absence from feature filmmaking with the bold, vulgar, and deeply thought-provoking BLACK EYED SUSAN. Simultaneously brutally challenging and deeply vulnerable, the latest from the New York-based provocateur appropriates bleeding-edge science fiction concepts to address the seemingly-endless lengths that men will go to satisfy their darkest impulses without questioning the consequences of their actions.


This haunting stop-motion animation speaks to the often barbaric side of medicine. Fear, misogyny, and the medical staff’s good complex are all in full view. While the story occurred in the 60s, its relevance does not wane. Writer-director Tiffany Kimmel does an excellent job capturing the terror of a child that undoubtedly attached itself to adulthood. The narration from Lucia Hadley Wheeler hits you square in the heart. The short was surprisingly personal for me. When I was 20, doctors at Saint Luke’s Roosevelt subjected me to a battery of invasive tests, unconvinced that I was a virgin. What I knew was appendicitis was treated as an STD. After 12 hrs and an emergency surgery later, my medical gaslighting experience still haunts me. Fantastic 2022 audiences will watch in awe of the artistry and storytelling style. Everybody Goes To The Hospital will make your blood run cold.
Filmmaker Patrick Dickinson brings audiences a nuanced tale of loss and love in COTTONTAIL. Following the death of his wife, Kenzaburo travels with his son and his young family to fulfill his late wife’s last wish, to scatter her ashes at Lake Windemere in England. The film flashes back in time, giving us intimate details of the love story between Kenzaburo and Akiko.
Tae Kimura gives an award-worthy performance as Akiko. The depth is mesmerizing. You will remember it. Lily Franky delivers a stunning complexity in Kenzaburo. Dickinson skillfully draws out the rift between him and his son Toshi (a fantastic Ryo Nishikido). The built-up guilt and regret flow off the screen as Franky moves from scene to scene. So, too, does the fierce adoration for his wife.
Dickinson places the audience in a precarious emotional state once we witness the hardships of Akiko’s progressing condition and Kenzaburo’s increasing frustrations with losing the wife he vowed to love through thick and thin. The discussion of the impact of acting as a primary caregiver hangs above the film like a dark cloud, allowing the redemption narrative to hold your heart. COTTONTAIL is about the individuality of grief, keeping secrets, and human connection. It is an undeniably beautiful and affecting film.
Starring Academy Award® Nominee 


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.


Danell Leyva does a great job of being entirely unlikeable. Victoria Vertuga gives Tasha a fierce presence. She is very watchable. It is Jamie Bernadette who steals the show playing Briar. Everything from her blunt haircut to her unsettling delivery is star quality. I want a prequel where she and Torrey Lawrence lead.
Filmmaker Eric Williford starts his new film off with a bang. The editing by Timothy Widmann is effective. Practical FX are solid and in your face. Cold Blows The Wind is a mysterious story of body-snatching possession on unholy ground. So much of the film feels inspired by the Evil Dead franchise, with a few other classic homages mixed in. Williford offers bits and pieces of backstory. Even though we are left to fill in the blanks, the potential is clear. There is enough meat on the bone (pun intended) to keep audiences hungry.
SWEATY LARRY
Our introduction to Sweaty Larry is as ridiculous as it should be, and the original song saying over the credits (written and performed by ATL’s 
DEATH PERCEPTION

Kevin Bohleber gives Cody a know-it-all environmentalist vibe. He hides a much more nuanced undertone. Kelley Mack is Wilda. She mixes a breezy girl-next-door quality with authentic emotional baggage.
The titular location is a real place in Utah. It is striking and entirely isolated, making for an immediately tense premise. The score is haunting and ethereal, comprised of disembodied voices. Scenes in which Grant trips on mushrooms utilize a combination of ever-evolving animation and VHS-style imagery to illustrate his POV. It is trippy. 
Stimson Snead takes us on a comedy of trial and error in DWF: LA sci-fi feature TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. This film is a story of a mad genius’s guide to what if, get ready to have your mind blown.
Samuel Dunning is Tim Travers. He is funny, charming, and owns this role. Travers is stubborn as hell and honest to a fault. The character has authentic mad scientist vibes. The number of alternative death scenes and distinctly unique versions of the same character is Multiplicity on crack. Dunning eats it up.
One of the most harrowing stories I’ve seen featured in a short film comes from BriGuel‘s HOW I ROLL. This 13-minute emotional rollercoaster is an eye-opening tale of resilience. Robin Cohen lives with MS, navigating Miami, Manhattan, and a family history of shocking violence, loss, and great love.
BriGuel beautifully edits Cohen’s innermost thoughts, one on top of the other in the most organic way, mimicking the chaos of our mind’s intrusive thoughts. With an abundance of home videos and footage of Robin’s daily life and love story, HOW I ROLL introduces the world to a woman who inspires us to love, laugh, and live life to its fullest despite what might feel like insurmountable odds. Eternal positivity and perseverance are the beauty of life.
It is easy to see why Kat Rohrer‘s Frameline 48 feature WHAT A FEELING played to a sold-out crowd last night. This authentic love story is everything you want it to be. Workplace shenanigans and complicated family dynamics genuinely ground the film. This naturally progressing script has it all.
Fa is a wildly unpredictable woman who enjoys creating things with her hands and bouncing from woman to woman. Marie is a doctor whose husband demands a divorce on their 20th wedding anniversary. When the two run into each other, almost quite literally, they discover an unexpected spark between them.
Caroline Peters delivers laughs and heart in the role of Marie Theres. Proschat Madani gives Fa a firecracker spirit. Both offer depth to roles that could easily remain surface-level clichés. Their chemistry is magic, and Rohrer thoughtfully crafts their characters’ journeys.
The film leans into conversations of identity, both sexual and national, with Fa being Iranian. It tackles inherent bias and standing up for what’s right, no matter the issue. WHAT A FEELING dives into the nuance of relationships and the mistakes we make that either force us to grow or flee. It’s a lovely film.
Upon his upcoming release from a specialized mental hospital in Scandinavia, a man suddenly reveals his connection to a string of murders. His therapist and the police officer on the case go down the rabbit hole, putting all three of them in a precarious relationship.
Gustaf Skarsgård is Mads a deep sadness. His gentle nature is at odds with his confessions, although his true motivations feel evident from the beginning. Nevertheless, Skarsgård delivers an emotionally wrought performance.
Haunting takes in the gloomy natural light of a rainstorm or afternoon in an unlit room, capturing the dark essence of the narrative. The true story behind the film is one of the most unusual in criminal history. In the 1990s, Sture Ragnar Bergwall (later known as
Sonja Prosenc‘s Tribeca 2024 film FAMILY THERAPY features a nouveau riche household that operates in rigid formality, slowly cracking upon the arrival of a new member.
Mila Bezjak gives Agata a suspicious sass. Her personality gets a boost from her severe hairstyle. Blunt bangs and thick coiffure make her resemble an overgrown doll. Her attention-seeking behavior has everything to do with her parents’ infantilism.
Aleksander never shuts up. He flaunts his eccentricity most ignorantly, fancying himself a writer despite only writing a single piece twenty years prior. Marko Mandic is loathsome in the best way.
Someone seems to be leaving Miriam cryptic notes and clues connected to her life. A kind-hearted and observant Toronto librarian at a quiet branch filled with an eclectic group of patrons,
Britt Lower
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