It’s that time again! With Sub-species returning for a second year, plus an intriguing new attraction in the lineup, I couldn’t have been more excited for Scarefest 2016. We had an amazing time as always, but unfortunately, Hex and Sub-Terra (two of my favourite rides) remain closed. I’ve never found Air to be particularly enjoyable, so the transformation to Galactica has been the final nail in the coffin. And as much as I enjoy the other coasters, I hope to see a fuller lineup of rides at Scarefest next year. It’s the combination of rides and scares which make the day so special. Fortunately, the Scarefest attractions didn’t disappoint… House of Monsters A brand new addition to the Scarefest event, House of Monsters was a nifty little attraction designed to give younger kids a thrill whilst keeping adults entertained. It slotted perfectly into the gap between attractions for the little ones, such as Skelvin’s Spooky Storytime, and Terror of the Towers, a lower-level scare maze. Speaking as an adult (who went in with another adult), I could definitely see the appeal. The attraction followed a Dungeons-style format of room-to-room set pieces and audience participation, with a short maze at the end. House of Monsters presented a great mixture of cute comedy and mild jump scares with beatifully designed interiors. The opening room was my favourite in terms of performance; the green house scene outstayed its welcome. Worth the extra fiver? Just about. Terror of the Towers: What Lies Within This iconic maze has always felt somewhat central to the Scarefest experience. It’s also a favourite of mine; the combination of content and setting makes me feel like I’m in own personal horror film. This year was no exception, for the most part. Terror of the Towers is still hitting all the right notes in terms of layout, lighting, soundtrack, and actor positioning. This enduring quality is why I never tire of it, although it has become rather predictable. Unfortunately the finale was lacking this year compared to previous visits; the movement of the demons in the strobe wasn’t as nightmarish or alarming. That being said, it’s still very disorienting. Damned if I know how the group leader ever manages to get us out. I’m yet to try. Altonville Mine Tours: Uncover the Legend of the Skin Snatchers THIS IS IT. A dream come true for any horror fan, outside of HHN! Silence of the Lambs meets Texas Chainsaw Massacre meets The Hills Have Eyes – smelling/seeing/feeling it. LIVING it. This was immersive, scary, and impeccably themed to cinematic standards. The scareactors’ accents were all fantastic and they set the scene perfectly. Once inside, I was stunned by the intricacy of the various setpieces. My eyes deceived me in a moment of absolute horror, where clever make-up and flawless timing created a devastating jump scare which I’ll never forget. I was a screaming idiot, no doubt about it. I didn’t get a Haunted Lantern hardhat, but from closely accompanying someone who did, I think it added an extra layer of interest. My most memorable moments of the season were all inside this maze, and the use of music in one particular scene really elevated the whole experience for me. I think we got lucky with the finale; it was extremely hard to see anything and just the two of us wandered in, so we really got a good jump. Sub Species: The End Games Sub-species the second time around was, unfortunately, nothing compared to last year. Aside from the first scene, where the guest dispatch was just as thrilling as before, there was a striking difference in tone. Energy levels were down once I got going. I didn’t encounter many scareactors on my walk through. There were a couple of characters who redirected me on my way, but it felt oddly perfunctory, as if I were simply being given directions. I considered heading backwards or into different areas just to try and find some excitement myself. In retrospect, I wish I had. But on the other hand, shouldn’t there have been enough on the table already? Perhaps the nature of Sub-species will always be problematic in terms of inconsistencies. I have heard a great many positives from this year; maybe it’s worth the roll of the dice for the chance of a terrifying walkthrough. I do like to live dangerously after all. Scare zones Sadly, as a result of our maze slot and my need to ride Thirteen in the dark, we missed the Freak Show scare zone. However, from walking though prior to opening & post closing, it looked extremely promising! Dark Apocalypse was pretty solid and I was pleased to see a crying child near the exit. The actors were fantastic and so patient with people wanting selfies, us included!

Located at Blackpool’s South end near the Pleasure Beach, Carnesky’s Ghost Train is a permanent scare attraction that you can visit all year round. The attraction is essentially a small ghost train ride with live actors and a backstory; it doesn’t take long to get through, and is very reasonably priced. The design of this attraction is superb and makes excellent use of the limited space within the building, utilising lighting and other effects to maximise the space. The actors do a fantastic job as well; there were only a few scares but they were very well executed, bringing the story to life with precision and great timing. The only thing that lets this attraction down slightly is the exterior theming. The name of the attraction is lit up in red; it has a vaudevillian feel to it, which ties in well with some of the costumes inside and the red curtain at the ride entrance. However the ride has a separate sign featuring a realistic steam locomotive and ghostly blue lettering. These separate aesthetics could be combined or one could be altered to create a more clearly defined theme for the ride, which in turn would make the experience more engaging. The attraction is perfect for those who may want a taste of live scare entertainment without the full fear factor of a big walk-through attraction. The ghost train format makes you feel more secure but you still get to experience the actors, and it only takes about 5 minutes to get through so if you dislike it then you don’t have much to endure. For me however, enjoying myself as much as I was, it was over far too quickly.

PUP Events returned to Woolley Edge this year with their scare event ‘October Screams’, an installation of two terrifying scare attractions: The Barn (returning from last year), and The Pit, a brand new concept. Last time we attended a PUP attraction (Caine from earlier this year), we were impressed by their theatrical storytelling and theming. Did Woolley Edge October Screams follow suit? We went along to find out. The Barn Housed in an actual barn, this theming of attraction was extensive and thorough. It featured various rooms and scenes, all with amazing decoration and attention to detail. In terms of why we were there, the backstory covered this, however it was delivered to us by someone not in character, which seemed like a bit of a waste. We had been invited into the house (or so we thought), to meet ‘The Family’ who inhabit it. But they weren’t about to welcome us with tea & cakes. Far from it. The layout and props were utilised brilliantly for maximum scares / generally freaking us out. Hanging laundry was a place for the scareactors to hide, and all hell broke loose in the kitchen, with real crockery being thrown (and smashed!) This was startling, and also quite intimidating! Interaction with the scareactors was frequent and also quite unsettling, as most of them were children; this is pretty uncommon and it was a bit uncomfortable at times, but I think that was the desired effect. The attraction concluded with a strobe maze, which was a nice change of pace from exploring the house, followed by an encounter with the ‘Dad’ character. There was a great finish here; a shovel was used (in place of the usual chainsaw!) which was really effective. He was banging it against an oil drum and rattling it against the corrugated iron walls, and the sound this created was dramatic and alarming. Better than a chainsaw! An additional impact scare thrown in at the end made for a terrifying final flourish. The Pit The Pit followed on from The Barn, although in terms of the story it wasn’t altogether clear why we were sent in there, or how it linked back to the family. This attraction was a solo experience. We were hooded, and a rope was used to guide us through. The rope was a very effective method in terms of retaining control over our movements and making us feel vulnerable- at one point we were dared to let go of it, and we had very little success trying to find it again. A variety of sensory attacks followed, including dripping water, people whispering, burial in the straw and verbal threats. The pièce de résistance, however, was an extremely unnerving chainsaw finish. Not just the sound, but the feel of the chainsaw- yup, it touched us! This was really effective after an unbearable period of stony silence. We weren’t sure what to make of The Pit. It’s certainly very tense, but it did seem to lack a strong finish; the experience tailed off after the chainsaw. Perhaps a little scare after being de-hooded would round things off. Overall, The Pit sits alongside other extreme attractions as part of a larger trend towards scare entertainment of a more adult nature, with more physical interaction and offensive content. Shock value is a factor here, and shock value has its place. But PUP excel in theatrical scare entertainment with a storyline, and it was a shame to lose that.

Fright Nights at Stockeld Park in Wetherby was part of their ‘Halloween Adventure’ event, running Tuesday 29th – Thursday 31st October 2013. The evening featured three scare attractions: two mazes and a woodland walk, and was produced by AtmosFEAR! Scare Entertainment.   I'm unsure as to whether this event will return in 2014, but just in case it does, I would like to point out that my review contains details that could potentially be perceived as spoilers.   Upon arrival we were very pleased to hear spooky music floating around the park. This, combined with creepy lighting under a few trees, created a lovely atmosphere which I would have happily stood around and enjoyed for a little while. But we had to press on; the first of our three experiences, Fear Forest, operated on a timed entry system.   Fear Forest We were greeted at the gate by a security warden who warned us of the horrors lurking in the woods. This actor was superb and he certainly got the crowd warmed up. We ventured into the woods and encountered several actors on our way. All of them were able to engage with the group effectively. The scripts/characters were entertaining, with good use of humour, and  some great physical elements as well (particularly on our encounter with Mr Punch). This was a very different type of attraction to what I’m used to. Not scary for me, but very enjoyable. This was Halloween family fun as it should be; spooky, exciting, and a little bit magical.   Torchure The Torchure maze was a more familiar format for me, but once inside, I was surprised by the simplicity of the layout. A great example of how you really don’t need elaborate sets or special effects to get amazing results.   The concept was very clever: this attraction was housed in a marquee and featured a very basic maze, total darkness, a low roof for added claustrophobia, and actors wearing masks. That was it! We were plunged into darkness as the actors got into position, and then, with the use of torches on their faces, they delivered target and impact scares at various stages along the way. The masks were great but I think this attraction would have worked just as well if the actors were wearing make-up (a testament to how effective this format was). Each time darkness fell, we had no idea when or where the actors were going to strike next.   I was also pleased to see that the actors made an effort to target all members of the group. Everyone enjoyed themselves. Overall, this was a fun, scary experience, which worked on a very basic level yet achieved excellent results.   All Hallows Evil Housed in a hedge maze, this was an exciting experience which we were able to move through at our own pace and encounter scary characters along the way. The actors were unnerving and entertaining- we particularly enjoyed meeting the chainsaw clown, who actually chased us at one point!   I could have done with a few more characters in here though; the number of scares we got compared to the amount of time spent in there was quite minimal, but the ‘what’s around the corner’ anxiety made this fun till the end.

The Scarefest event at Alton Towers is always one of the high points of my year. Last year really stood out for me due to the introduction of the Sanctuary- a scare maze that went on to win a well deserved award, and would later be listed in the top 13 Halloween mazes worldwide. So with the Sanctuary returning for 2013, I was nervously anticipating another evening of stone cold terror deep within the Alton Towers ruins. And with the other mazes to experience, plus the added treat of riding my favourite rollercoasters in the dark, I couldn’t wait to get stuck in. Carnival of Screams An old favourite at Scarefest, this carnival/circus themed maze has been consistently well executed. The only difference this year was that the maze was free; in previous years, this was one of the paid mazes. The downside? Large queues after dark. The positive? You could go through as many times a you wanted! We only went through once, but believe me, I would have happily repeated the experience. Queue line music and good exterior theming made for an effective build-up prior to entry, plus an encounter with a couple of creepy characters before the real horror began. The ‘living doll’ kicked things off. Reminiscent of those horrific, clunky coin operated laughing clowns, this doll really delivers a fright, and I chuckled when I saw one family exit the attraction immediately after their encounter with him. Go hard or go home! The nightmarish funhouse format is an ideal platform for some serious scares; the uneven floor, flashing lights and twisting tunnels made us feel disoriented, adding another dimension to the impact scares inflicted on us by the scareactors, who were all superb. There was one scene involving a room covered with polka dots, and a clown wearing a suit of the same pattern, completely camouflaged. The impact of the scare was extreme, but only for those near the front of the group who enter the room first. In scenarios like this it’s almost impossible to perfect the timing so that everyone can benefit; part of me wishes there could have been more than one actor in this room, so the scares could be staggered and take place in opposite corners. However, actors in other rooms made a huge effort to target different members of our group. Following an unsuccessful scare attempt on the person at the back, the clown vowed he would later ‘get him’, and proceeded to do so further in. I was really impressed by this. Flashing lights in other rooms made it a little difficult to see, therefore certain props, such as the hanging ‘body bags’, lost their impact slightly. And I never saw a clown in that room, even though I was sure there should have been one somewhere. The climax of this maze was one of the highlights of my entire day; it featured a new character and a knife-throwing show. It was brief, but the actor was spot on. He was a deeply unnerving physical presence, with horrible jerking movements and full-on terrifying make-up. A spectacular final scare! The Sanctuary Nurses dressed in white, flickering TV screens and eerie music à la Medication time from 'One Flew Over the Cuckoo's Nest'- you’re in the queue line for The Sanctuary, waiting for the doctor to see you. Every detail works towards setting the scene and convincing you to ‘buy in’ to your surroundings, which intensifies the overall experience. The theming of this attraction is exceptional and very thorough, inside and out. Even the propaganda posters dotted around the waiting area have been stamped with a Ministry of Joy logo. As with last year, being greeting by Dr Kelman was a fantastic start. He made us feel nervous, uneasy, and instilled a chilling sense of dread. Once inside, the real assault on the senses began. We moved into the living area of The Sanctuary, which again is so detailed you feel as though you’re in the middle of an asylum-themed horror movie. The scares were steady, and a strong, stale, clinical smell permeated our environment. The smells continued and intensified, as did the music, as we moved further in. By far the worst smell was in the marmalisation room; it smelt like rancid, rotting food. Many of the scareactors used their bodies and voices in truly disturbing ways, and they delivered great target scares. The layout of The Sanctuary is ideal for this in certain areas; the actors can move freely yet are able to conceal themselves effectively to scare different members of the group. Some of the patients begged us not to go downstairs, which heightened my anxiety as we reached the point of heading down there. Having been warned of the horrific experiments and treatments that took place within, we knew our journey was coming to an end; this is a great example of how a loose narrative made us feel more immersed in the action. Heading downstairs did, however, give us a chance to catch our breath and recover slightly, which isn’t good. Maybe an additional sound, such as loud screams from below, would have ensured our adrenaline levels remained high. The Sanctuary is a unique experience, delivering perfectly executed scares in an environment so utterly convincing that you feel as though you’ve been transported. That’s a winning combination, and I hope it will return in 2014. Terror of the Towers Terror of the Towers returns, having swapped places with Carnival of Screams as a paid maze this year. This cut down our waiting time, which is always nice. As this maze is themed around vampires and other creatures lurking within the Tower ruins, there really isn’t a great deal of external theming needed. Just the creepy queue line music and the Towers themselves, lit up and looking decidedly ghostly beneath the stars. Old school. The maze began with a brief found footage film to set up the back story about two explorers going missing in the ruins. As the film ended, a curtain lifted and we were encouraged to discover for ourselves what lies within. This video worked well, but as it played we could hear a staff member shouting instructions at the next group, so that did spoil it a bit. I was surprised at how long it took for the first scare to happen; I started to relax a little when no-one appeared in the first section. I was still enjoying myself though, as the environment within this maze is fantastic, like getting lost inside Dracula’s castle. Dusty furniture, statues, creepy paintings, cobwebs; it’s a Hammer horror fan’s dream come true. Moving into the next section we had to negotiate a tunnel with a very low roof, so much so that we had to crouch down and shuffle through. This claustrophobic effect was unnerving, and it worked well to unsettle the group. When the scares began they were intense and effective. The actors’ costumes were very dramatic and their make-up was spot on. As they passed in and out the grand, gothic rooms, the atmosphere became almost theatrical, with eerie music and booming thunder sound effects bombarding us between the shocks. The long corridor featuring several dark hooded figures was definitely a highlight. Sometimes the anticipation of a scare can be just as bad as a surprise one! The maze climax was a strobe finish. Done to death? Maybe, but this was strobe done well. It had the perfect pace; fast enough to be a little disorientating, slow enough for the actors to be able to work with it. Which they did superbly. We had actors climbing the walls of the cage maze then jumping down into our path, their movements seemingly inhuman in the light, their demonic faces inching closer with every flash. It was quite a sight, and a spectacular end to the experience. Zombies! Scare Zone A more family-friendly addition to the Scarefest line up, this scare zone is a brilliant little feature. Set during a zombie apocalypse, the theming features abandoned cars, military style tents and sirens. The zombies in the scare zone stagger around, snarling and getting surprisingly close to guests’ faces. The staff at the entrance did let this attraction down a bit though. They were in military clothing, however they weren’t in character at all. I found this odd, given the fact that the staff over at Nemesis: Sub-Terra do such a fantastic job acting in character whilst operating the ride. It makes for a far better atmosphere. Maybe get them over to the scare zone next year.

The Nightmare Circus at Doncaster Racecourse was a temporary scare attraction for the 2013 Halloween season, running from 27th October to 1st November, and created by GNG Entertainment Ltd. It featured rides and attractions, plus two live scare mazes for guests to enjoy. But were they actually scary? We ventured in to find out…   I was hoping for a little circus music in the queue line, just to get us in the mood. Or some signs at the entrance which matched the event images I’d seen on the website, to re trigger the excitement I’d felt from reading about the event online and bring back those feelings of anticipation.   There were, however, some clowns in the queue line. They entertained us and gave us a few warm-up scares. They didn’t stay in character the whole time which was a shame, but their make-up was good, and I thoroughly enjoyed seeing them literally chase a guest around. Other than that, there was no build-up prior to entry, which was a shame.   The two scare mazes ran one after the other, so there was only one entrance for the maze experience. The first maze was Pogo’s Fun House.   Pogo’s Fun House This maze was, for me, a good example of how you don’t need to throw a tonne of money at an attraction to make it entertaining. There was a back-story which was explained to us by the first actor, who did a great job of setting the tone and made us feel engaged.   The scenes within the maze were simple but made effective by the actors, who were all brilliant. The rooms we walked through featured demented clowns, balloons strewn around and writing scrawled on the walls. Details like these all go a long way towards creating the right mood, which this attraction did very well.   One or two of the scenes could certainly have been improved by changing the positioning of certain props. For example, there was a great little scene involving a séance. We were all told to place our hands on a table (I liked this interactive element). As we stood there, a cloaked man entered the room and pounced on one of the girls who had his back to him. Unfortunately, half of us were unable to benefit from this scare, as we saw him coming. If the actor had positioned us with our backs to the door then we would have all jumped. There was also a coffin in the room; had this been placed opposite the door, and the group told to focus on it, then this misdirection would have certainly intensified the scare.   I wouldn’t say this maze scared me at any point, so in that respect I’ll admit it didn’t quite work, but it was fun to walk through. For a small scale attraction it was able to achieve a lot, but it could have achieved more with a little more build-up (maybe if the staff outside of the attraction had been in character) and changes to the layout. But there was a great atmosphere and the actors were faultless; they did a good job of intimidating our group. Freakshow Live The end of the maze brought us to the entrance of Freakshow Live, the second part of our maze experience. We were greeted by an actor who sang to us- we were all a little baffled by this and unfortunately it took me out of the experience completely.   This maze had a simple layout and utilised strobe lighting throughout. This succeeded in making us feel severely disorientated (I almost fell over at one point!) which made it easy for the actors to pounce on us. However, I was disappointed to discover that nothing else was going to happen. It was just strobe and actors wearing what looked a bit like ninja suits. I was looking for the ‘Freakshow’ element but I couldn’t really identify it.   It crossed my mind that one way to enhance this experience could have been for the singing actor to warn us that the freaks dwelling within this maze were so horrendously disfigured that they had to keep their faces covered. This would have explained their peculiar costumes and also given us an added element of anxiety: the fear that one freak may remove their mask and we would be confronted with the horror beneath. This didn’t need to actually happen; just the threat would have given this another dimension.   This maze did give me a couple of scares; the actors utilised the space effectively so they were able to make me jump a few times. But impact scares alone aren’t enough. The group quickly adjusted to the nature of this experience, which lessened the overall effectiveness of the maze, and left me wanting a lot more.

On the face of it, it may seem uncharacteristic of me to be so avoidant of Halloween Horror Nights; a veritable mecca for scare and horror fans alike (of which I’m both). Aside from the associated cost of both time and money, I continue to prioritise the UK scene because I adore the unpredictability of our independent events. The problem with an IP (for me anyway) is an inherent sense of familiarity. Give me an attraction based on a specific film, and I can broadly anticipate what lies within, which erodes the tension. I’ve now found the perfect example of the unpredictability I crave. My first ever visit to Xtreme Scream Park was everything I’ve ever wanted. This park is an explosion of rampant, unrestrained, and unrelenting creativity. The storytelling, which is outrageously dark and unhinged, is on another level. The word ‘theming’ suddenly feels inadequate; this is full-blown worldbuilding, defiant and grandiose, but without the polish that can render large-scale scare mazes sterile and inoffensive. There’s an irresistible edge to these attractions and that’s what makes them memorable (that and the fact that they’re absolute marathons). And yes, as a self-confessed Berlinophile, Blutlust made my year.

Upon receiving a distress signal from the Event Horizon, a deep space research vessel which disappeared 7 years prior, the Lewis and Clark rescue crew is dispatched to investigate. On board with the rescue crew is Dr Weir, the architect of the Event Horizon, who explains that the ship was originally designed to allow mankind to travel faster than the speed of light by opening a rift in the space-time continuum. Upon arrival, the Event Horizon appears to be deserted, however the crew soon uncover distressing footage of the ship’s previous inhabitants, suggesting they had mutilated each other in a violent, demonic frenzy. Furthermore, the rescue crew begin to suffer terrifying visions, each one tormented with manifestations of their deepest fears and demons. As the danger of their situation becomes apparent, so too does the horrifying reality of where the Event Horizon has really been… and what it has brought back with it. From the hauntingly cavernous and cathedral-like ship, replete with echoing walkways and shadowy gothic corridors, to the metallic, mechanical evil of the sinister gravity drive, the bold aesthetic of Paul W.S. Anderson’s cult classic Event Horizon remains unparalleled in the genre to this day. The ship is an ominous character in and of itself; a ‘haunted house in space’ which evokes a persistent sense of dread, deeply atmospheric in its empty grandeur. Featuring an ensemble cast, striking sci-fi production design and a hellish, gore-heavy final act, Event Horizon is an unforgettable experience and remains my favourite horror film of all time.

Eight year old Emma’s life is in turmoil. Her mother is terminally ill and unable to care for her, and given Emma’s erratic behaviour, she may soon be taken into care. In addition to this, Emma is obsessed with a local chapel, which is steeped in legend about the so called ‘bird men’ – nightmarish doctors who inhabited the area during a 17th century plague – and the spirit of a girl who has spent centuries trapped inside. Emma believes that if she can connect with this spirit, she’ll able to utilise her own psychic gift to communicate with her mother after death. She seeks out the help of Carol, a local medium, who is sceptical and reluctant to assist. However, Carol doesn’t realise Emma’s gift is very real, and if she continues to try and use it on her own, the consequences could be disastrous. With Emma’s young life in danger, and her mother’s condition deteriorating, time is running out for both of them. Director Carlota Pereda (PIGGY) returns with this exquisitely heart-wrenching, supernatural tale. Emma’s determination to secure a spiritual future with her mother creates a kind of ghost story to-be; a darkly whimsical film with poignantly observed themes of grief and death, portrayed through the eyes of a child. Her mother’s illness has eroded away their bond, but with the hope of a relationship beyond this life, it may not be too late for them. This moving mother-daughter dynamic is at the core of THE CHAPEL, a film that will chill your heart one moment, and break it the next.

Sophie, a young trans filmmaker, is struggling to get by. Balancing a minimum-wage job with a low-budget film shoot is hard enough, but Sophie and her friends must also contend with the rising number of alt-right groups who are targeting their community. To make matters exponentially worse, an earthquake has struck the town, unleashing an ancient worm-like parasite which spreads rapidly through weak-minded, vulnerable and gullible men, amplifying their hatred and aggression. After a first date gone awry and a commiserative evening of partying with her flatmate, Sophie awakes from a violent dream to discover that she can sense the presence of those infected by the worms. Armed with this newfound power and the help of her friends, Sophie must battle to defeat the parasite and its army of violent hosts, to take back her town - and her community - by any means necessary.    A vibrant and inspiring piece of indie genre filmmaking, T BLOCKERS is the third feature film from director Alice Maio Mackay. Blazing with personality and sci-fi B-movie chaos – complete with parasitic aliens and a decent helping of goo – the film utilises genre elements as powerful metaphors for transphobia, societal ignorance, and bigotry. The horror is layered with stark, emotional reminders of what is at stake in the present day, such as an on-screen discussion of a law which will classify support for trans kids as child abuse. A fiercely passionate fusion of gross-out comedy horror, heartfelt storytelling and social commentary, underpinned by a ferocious, life-affirming rage; a demand to be heard, to be seen, and to fight back.

Nathan (Hugo Dillon) awakens by the side of the road. His car is mangled; it would appear that a traffic collision has taken place. Bewildered and confused, Nathan is met by Daniel (Arben Bajraktaraj), the motorcyclist who caused the collision, who guides Nathan towards the horrifying realisation that neither of them have survived the incident. This realisation is cemented by the appearance of two mysterious doors in the road, which beckon the men towards their final judgement and corresponding afterlife. Unfortunately for Nathan and Daniel, their actions in life have directed them to the worst possible destination, and they’re not alone upon arrival. Fellow tortured souls include maniacal child-princess Nina and her bloodthirsty companion Tony, and mother and daughter Julia and Chloé, whose tale is one of unimaginable grief and guilt. We are invited to observe these characters as they play out their misadventures and misfortunes in life, before they unite in death for an eternity of pain and suffering. Weaving together a series of dark and grotesque tales with a unique aesthetic, director Quarxx invites us to descend cinematic circles of hell that are psychologically complex and nuanced, creating a thought provoking yet harrowing portrayal of eternal damnation. With its combination of macabre stories and dark humour, PANDEMONIUM is a compelling triptych, exploring the nature of guilt and punishment while delivering moments of theatrical Grand Guignol-esque surrealist horror.

Out in the desert in the American West, harvest season has arrived; more specifically, the season of the witch. Local residents prepare for this annual occurrence by leaving humble offerings outside their homes – nuts, berries or twigs – to placate the witches. Otherwise, they have a nasty habit of sweeping down, like the falling stars in the night, and taking whomever they wish. A local radio host keeps the lines open late for the community to reach out with stories of sightings and disappearances, while people hunker down for the evening. However, instead of sheltering, three brothers make the dangerous decision to set off into the night to catch a rare glimpse of a witch’s corpse, buried in the desert by their friend. Despite warnings about the consequences of disrespectful behaviour at the grave site, the corpse is accidentally desecrated when beer is spilled on it. The brothers flee, but they cannot outrun the curse they’ve brought on themselves; as their mother stoically explains to them, their only hope for survival is to return to the grave and burn the body before dawn.  Utterly enchanting and immersive in its worldbuilding, Gabriel Bienczycki and Richard Karpala’s FALLING STARS is an unnerving, slow burn experience where a creeping sense of doom continues to build throughout. Fantastical genre elements are grounded firmly in the reality of this community, where this extraordinary, supernatural event has been part of their lives for generations. As stories are handed down, attitudes and approaches to the witches evolve with time, creating a unique mix of superstition and stark inevitability at the heart of this dark, folkloric fable.