A dark figure appears in the night, bringing with him a virus that turns people into monsters. Hoping to gather stories to take back with him to the other side, he meets his opposite, a light figure prepared to do battle with the dark man in order to save the human race... Written by
It is easy to be cynical about the state of play of the filmmaking industry in Britain with the recent closing of the UK Film Council and the cuts made to arts funding by the government. Low-budget independent productions such as The Eschatrilogy blow these doubts out of the water, however, as they prove that money isn't everything. What is really important is the creative collective drive of passionate filmmakers determined to make something special and passion is something this film has by the bucket load.
The film opens with a montage of sole survivor Matthew (Tim Mcgill Grieveson) biding his time in a desolate forest hut. In between transporting zombie roadkill to the forest in a wheelbarrow he attempts to send out radio signals for other potential survivors. This sequence is beautifully shot, edited and acted, giving an indication of the fantastic cinematography right from the get-go. Although it is a lengthy scene to begin the film, we really get a sense of Matthew's loneliness and depravity in a bleak situation and this sets the tone for the three 'nightmare' segments that follow: 'Dead Inside', 'The Dying Breed' and 'A Father For The Dead'.
Now I won't spoil either of the stories - it is really something you have to see to believe how well the three sections are tied together by the survivor plot - but I can tell you that you won't have seen anything like this before. Clearly Romero's zombie series was a huge inspiration for The Eschatrilogy; however never once did you witness Romero's zombies show emotion and remorse for the beasts they had become. The overriding theme here is family and, like Romero, director/writer/actor Damian Morter weaves what can be interpreted as a social commentary of the present day. Cal (Morter) travels the land whilst documenting tales of horror in his book to act as a warning for others to support one another no matter what the circumstances. It goes to show that in the midst of economic crisis and war faith can be restored in humanity by supporting family and friends through difficult times.
In short: watch this film if you are even marginally interested in British horror. I can assure you that you won't believe it is such a low-budget production with all the talent on display. Safehouse Pictures UK is certainly an independent company to watch out for in the future.
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