Presented by Deadhouse Films, The 10th annual A Night of Horror International Film Festival, and Fantastic Planet: Sydney Sci-Fi and Fantasy Film Festival, screen simultaneously at Dendy Cinemas Newtown from November 24 to December 4, 2016. Says festival director Dean Bertram:
The 10th annual festival is going to be our biggest event yet. Featuring over 100 films, several international filmmaker guests, multiple parties and a horror filmmaking master class; Sydney’s genre fans and filmmaking community are going to be treated to eleven days of the best and freshest horror, sci-fi, and fantasy from around the globe.
The festival opens on Thursday November 24, with the Australian premiere of the international festival hit Peelers, plus a Q&A with special international guest: Canadian director Sevé Schelenz. And in keeping with the spirit of the bloody hilarious film, the screening will be followed by a “zombie and strippers” themed after party.
The closing night film,...
The 10th annual festival is going to be our biggest event yet. Featuring over 100 films, several international filmmaker guests, multiple parties and a horror filmmaking master class; Sydney’s genre fans and filmmaking community are going to be treated to eleven days of the best and freshest horror, sci-fi, and fantasy from around the globe.
The festival opens on Thursday November 24, with the Australian premiere of the international festival hit Peelers, plus a Q&A with special international guest: Canadian director Sevé Schelenz. And in keeping with the spirit of the bloody hilarious film, the screening will be followed by a “zombie and strippers” themed after party.
The closing night film,...
- 11/8/2016
- by Phil Wheat
- Nerdly
[Guest author Christopher Lombardo of Really Awful Movies celebrates Canada Day by looking back at three backwoods Canadian horror films.] In the ’70s, Canadian tax loopholes spurred growth in domestic horror films, providing a more reliable low-cost means of recouping one’s investment in a frequently fickle business. A few, like Martin Scorsese’s favorite The Changeling, were critical darlings, while the bulk of them were regarded as cheap government-funded trash. A prominent Canadian critic famously called Cronenberg’s Shivers “an atrocity, a disgrace to everyone connected with it” in a jeremiad titled “You Should Know How Bad This Film Is. After All, You Paid for It.”
Luckily, for those of us invested in such things artistically if not financially (unless you count our tax dollars), we got gems such as Happy Birthday to Me, My Bloody Valentine, Black Christmas (1974), and many others.
The “tax shelter” era, in addition to straight-ahead slashers, also gave us lesser-known films that exposed class divisions—punishing urban interlopers who lacked the necessary survival skills to thrive in the wilderness.
Luckily, for those of us invested in such things artistically if not financially (unless you count our tax dollars), we got gems such as Happy Birthday to Me, My Bloody Valentine, Black Christmas (1974), and many others.
The “tax shelter” era, in addition to straight-ahead slashers, also gave us lesser-known films that exposed class divisions—punishing urban interlopers who lacked the necessary survival skills to thrive in the wilderness.
- 7/1/2016
- by Christopher Lombardo
- DailyDead
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