‘HOUSE OF SCREAMING GLASS’ (2024) is a wild exploration of dark legacy

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HOUSE OF SCREAMING GLASS

HOUSE OF SCREAMING GLASS poster

After inheriting an old schoolhouse, Elizabeth begins to lose time and experience visions of evil in her isolation and exploration of her familial connections.

Success lies within the use of a go-pro and the out-of-focus visuals. The set might be some artist commune or quirky AirBnB listing. It delivers jewel-toned decor choices and creepy corners, echoing loneliness. Elizabeth discovers a trunk filled with dark objects, including a book with sketches right out of Guillermo del Toro’s imagination. 

HOUSE OF SCREAMING GLASS Lani CallLani 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 film opens with a gruesome shot, transitioning to the world’s slowest upward pan. The pacing, while artistically intentional, remains an issue. Call’s narration deserved a pop shield in front of her microphone. Elizabeth makes questionable choices that defy logic as she plunges into her dark legacy. No doubt the practical FX team will make you gag as her physical appearance rapidly deteriorates. The film is out there. What’s good is great, but HOUSE OF SCREAMING GLASS ultimately suffers from the length. 

This otherworldly thriller arrives on VOD and DVD on May 21st

 

Directed and co-written by Williams (RUST BELT DRILLER) with a script co-authored by Costanza Bongiorni and Tom Jolliffe, HOUSE OF SCREAMING GLASS stars Lani Call.

Elizabeth Cadosia has lived a life of isolation under the shadow of her mentally fractured mother. On the day her mother dies, Elizabeth receives an unexpected inheritance—a timeworn schoolhouse from her grandmother—whom she has never met. Within the schoolhouse, Elizabeth finds herself entwined in a tapestry of unsettling visions and harrowing nightmares.

An incredibly surreal, ultra-low budget experiment in minimalist horror – inspired by classic horror, witchcraft legends, the Cthulhu mythos, and Tarkovsky and Antonioni’s “slow cinema” – the film was made by a very small group of close friends and is anchored by a powerful performance from actor Lani Call.

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Now streaming and out on Blu-ray today, Shem Bitterman’s ‘DISTANT TALES’ tackles the good, the bad, and the ugly of humanity and isolation

DISTANT TALES

In a near-future dystopia, when a worldwide event means people can no longer meet face to face, four stories — PLACEBO, PLEASE LOG ON, TOUCH, and R NOUGHT — unfold with unexpected revelations as the screens through which they connect hide the twisted reality of their lives.


Writer-director Shem Bitterman

Writer-director Shem Bitterman taps into human nature with four stories that capture the echoes of the Covid lockdown. The dialogue is theatrical. DISTANT TALES could easily transition from screen to stage. The real-time, intensely intimate vulnerability would be electric. It already pours off the screen.


TOUCHCo-workers surreptitiously connect over late-night Zoom calls. Once discovered by their partners, Ben and Seraphina show their true colors. Samuel Martin Lewis gives Ben a relatable longing. The performance from Tiffany Wolff is chilling.


PLEASE LOG ON
A job interview goes off the rails when the effects of prolonged isolation rear their ugly head. Liz Fenning gives Beth an irritable edge and desperation we all recognized during lockdown. Rupak Ginn is Rohit, a character in the opposite headspace. This segment presents the viewer with an awkward moral dilemma.


PLACEBOThe head of a clinical trial and one of her subjects find common ground through culture and shameless flirting but clash over social distancing protocols and the trial’s progress. Amen Igbinosun plays Ese as a jovial spirit. His physical and emotional journey is heartbreaking. Carolyn Michelle Smith balances skepticism and kindness. It is a nuanced turn.


R NOUGHTThis intense piece explores online extremism and conspiracy theories with phenomenal performances from Ben Bowen and Christoper Curry. An online talking head pushes a grieving husband to take up arms against the government. Can he battle his emotions and resist the influences in his life?


As a whole, DISTANT TALES tackles all the chaos of lockdown in complex ways. Each story gets under the audience’s skin for vastly different reasons. If nothing else, Bitterman’s keen observation of human desperation will undoubtedly have people talking.


“Distant Tales” trailer:


 
IS NOW AVAILABLE ON iTunes, AMAZON.COM, and VUDU
COMING OUT ON BLU-RAY ON DECEMBER 12


The dark psychological thriller, DISTANT TALES, a 4-part anthology from writer/director, award-winning playwright, Shem Bitterman (who, as a young screenwriter, wrote HALLOWEEN 5) and executive produced by Oscar-winner, Tom Schulman (Academy Award – Best Writing, Screenplay Written Directly for the Screen “Dead Poet’s Society”), will be released on Blu-ray December 12.


What’s Your Story?



Los Angeles, CA (November 30, 2023) – After a two-month exclusive run on Cable TV OnDemand with Xfinity, Spectrum, and Contour, DISTANT TALES, from acclaimed playwright and screenwriter writer/director Shem Bitterman and executive producer and Oscar-winner Tom Schulman (“Dead Poet’s Society”), is now available on iTunes, Amazon.com, and Vudu. The film will be available on additional streaming platforms later in December. Pre-orders are now available for the December 12 Blu-Ray release on Amazon.com.


DISTANT TALES, a dark, four-part dramatic anthology where desire, madness and a struggle for love erupt in a dystopic future after a worldwide event prevents people from meeting face to face, was filmed in isolation during the COVID-19 pandemic.


In DISTANT TALES four individual stories set during a worldwide pandemic unfold with unexpected twists and revelations: an extramarital affair, cut short by a pandemic and continued online; a mysterious job interview, overseen by an unseen judge; a vaccine trial, where a burgeoning love leads to some bad decisions; a grieving dad who finds sympathy from an online advocate for violence.


 

Blood In The Snow (2021) review: ‘Woodland Grey’ is a mesmerising tale.

WOODLAND GREY

A man living alone in the deep woods finds Emily, a hiker, unconscious and laying on the forest floor. He brings her back to his home and helps her get back to health so she can leave the forest and get home. After a few tense days coexisting, Emily makes a discovery. She finds a crudely built shed behind the man’s home. When she opens it, she unleashes something truly haunting. As Emily and the man come to terms with what has been released, they also attempt to find a way out of the forest which isn’t exactly what it seems.


Writer-director Adam Reider establishes isolation beautifully in the opening of Woodland Grey. With the sensory engulfing rustling of fall-colored trees, we watch William empty his trapped food and cook it over a campfire in front of his trailer. What appears to be a solitary existence is interrupted when he discovers Emily unconscious in his woods. His attempts to keep a dark secret and his controlled environment are about to go to hell.

The tension between actors Jenny Raven and Ryan Blakely is palpable. Reider, alongside writer Jesse Toufexis, gives these actors opposite personalities to the extreme. But this device keeps things interesting. Each brings a fire and nuanced perspective to the story. When you see it, you’ll understand how meaningful that becomes. They are truly spectacular.

The score helps to build a simmering unease from the very beginning. The structure of the script does not let you get comfortable. You cannot miss the references, directly and indirectly, to “Hansel and Gretel”. It’s all a bit maddening in the most brilliant ways. Could this film be a metaphor for purgatory? Completely possible. Could it be about the emotional stronghold of regret? Easily. I have so many questions and I don’t even care about the answers. I was too mesmerized to care. Woodland Grey is one of the most unique horror films of the year.


For more info on Blood In The Snow 2021 click here!


Review: ‘Isolation’ horror anthology is pulse-pounding genre goodness.

ISOLATION

As a narrative framework, Director and Producer, Nathan Crooker created a fictional world many months into the future that is based around the current global pandemic. All eleven filmmakers used the same unifying framework in creating their stories. The filmmakers were tasked with how to stay creative using only what was available to them at the time. They were not allowed to use Zoom or any other video conferencing services and were only allowed to use the equipment and resources they had with them when they entered into lockdown, including cast and crew, adhering to their respective COVID-19 protocols.


As Fil Eisler‘s opening credits crawl across the screen, and you hear his eerie score, you already feel you’re in for something unsettling. Nathan Crooker is behind the concept of Isolation. His instructions to fellow filmmakers? Solely use what you have at your disposal in lockdown. Each sequence transition utilizes Eisler’s animation to highlight a new city and story. It’s sheer perfection.

Larry Fessenden‘s piece “Fever” is precisely that; a wildly dark, creatively shot, fever dream. It nailed the undying spirit of New York and hit me square in the chest. Andrew Kasch‘s film “5G” takes a conspiracy theory angle. It’s that online alt-right anger we know all too well. But how they communicate with our man Chad is altogether something new. Cody Goodfellow‘s script is clever. Paranoia takes hold in Dennie Gordon‘s “The Dread” as a husband and wife hole up in their Los Angeles hillside home. Are their fears so unfounded after all? 

Bobby Roe‘s “Pacific Northwest” broke my heart into a million pieces. What would happen if my kids had to survive on their own? It destroys me to let my mind go to that place. Co-written by Zack Andrews, this one kept my pulse pounding. Written and directed by Adam Brown and Kyle I. Kelley, “Meat Hands” was unexpected. Loneliness is a killer, but so is interacting with people in a pandemic. Physical intimacy is vital to survival. Cleverly connecting back to “5G,” Alix Austin and Keith Siewert‘s “It’s Inside” takes place in London. Pushing 5G and chemtrail theories, YouTuber Paige believes someone is inside her flat. Bravo for the practical FX and sound editing because it all makes you cringe. 

The palpable sadness of Zach Passero‘s film “Gust” is unavoidable. Outside of the pandemic, it touches the monotony of motherhood and its emotional isolation day in and day out. “Homebodies” by Alexandra Neary sees an investigative journalist come upon a horror he did not expect. The film taps into the sensationalism that’s crept into the media. If you weren’t waiting for Cuomo’s daily updates last year, you were seeing the same images of empty streets and not much else. I was not expecting this more traditional turn. It was awesome. Finally, we find ourselves in Berlin with Christian Pasquariello‘s “Comfort Zone.” If this doesn’t scream governmental and scientific transparency to viewers, I don’t know what will. It’s a super slick cherry on top of Isolation‘s overall storytelling. 

Isolation taps into authentic fears. For anyone unfamiliar, what a fantastic introduction to the work of these filmmakers. The length and uniqueness of styles keep you hovering on the edge of your seat. You don’t have a moment to get settled.


*Available on VOD Tomorrow, November 2nd, 2021*


Produced by Nathan Crooker
Directed by:
Dennie Gordon (Jack Ryan, Legion, Hunters, Waco)
Larry Fessenden (“The Last Winter,” “Habit,” “Depraved”),
Bobby Roe, (“The Houses October Built 1&2”)
Andrew Kasch, (“Tales Of Halloween”),
Zach Passero (“Wicked Lake”)
Christian Pasquariello (“Alien Invasion: S.U.M. 1”)
Alexandra Neary (“The Innocent”)
Alix Austin & Keir Siewert (“Retch”)
Kyle I. Kelley & Adam Brown (“The Music Lesson”)


Jeremy’s Interview: Lance Edmands, Award-Winning ‘Bluebird’ Writer/Director

SFF_BLUEBIRD_Lance_Edmands_press

If you followed my coverage of the Indy Film Fest, you might remember I was able to catch (review here) the Grand Jury & American Spectrum Prize-Winning Bluebird, written and directed by Lance Edmands. You also might remember that it was my favorite of the films that I saw at the festival. I was curious to learn more about the film, its evolution and its journey to the screen so I reached out to Lance and he was kind of enough to give me 45 minutes of his time. Here’s what he had to say… Read More →

Jeremy’s Interview: Lance Edmands, Award-Winning “Bluebird” Writer/Director

SFF_BLUEBIRD_Lance_Edmands_press

If you followed my coverage of the Indy Film Fest, you might remember I was able to catch (review here) the Grand Jury & American Spectrum Prize-Winning Bluebird, written and directed by Lance Edmands. You also might remember that it was my favorite of the films that I saw at the festival. I was curious to learn more about the film, its evolution and its journey to the screen so I reached out to Lance and he was kind of enough to give me 45 minutes of his time. Here’s what he had to say… Read More →