Cass (Emily Sweet) begins to hear voices while backpacking through Yugoslavia with her husband Gav (Bradford Thomas). She thinks it's just stress or maybe her marriage not working out. But then a local named Saint Peter (Bruno Veljanovski) offers to show them the real parts of his country and Gav goes missing.
Eight Eyes was shot using a variety of 16mm and Super8 cameras, such as the Aaton XTR Prod Super 16mm, Bolex H16 Super 16, Krasnogorsk 3 Super 16, Leica Leicina Special and Classic Pro Max 8 16x9. 16mm and 8mm film was used to get a vintage look, including animated shots and sequences that were all captured in-camera using a reflected-glass process.
This is also the first production by Vinegar Syndrome, who worked with Not the Funeral Home and Night Loops, the crew that creates Joe Bob's The Last Drive-In. Director Austin Jennings also directs that show.
Ever since Cass meant Saint Peter, she's been having hallucinations and hearing voices. And then this gets weird, as we see Gav's 8mm footage and meet Saint Peter's strange family and then we descend into folk horror and that kind of 70s occult weirdness that I love filtered through the torture-filled slashers of the mid 2000s.
This is yet another movie that tells me that I should never go to Serbia, the same as how I will never go to so many places that have terrified me so much through cinema.
Eight Eyes was shot using a variety of 16mm and Super8 cameras, such as the Aaton XTR Prod Super 16mm, Bolex H16 Super 16, Krasnogorsk 3 Super 16, Leica Leicina Special and Classic Pro Max 8 16x9. 16mm and 8mm film was used to get a vintage look, including animated shots and sequences that were all captured in-camera using a reflected-glass process.
This is also the first production by Vinegar Syndrome, who worked with Not the Funeral Home and Night Loops, the crew that creates Joe Bob's The Last Drive-In. Director Austin Jennings also directs that show.
Ever since Cass meant Saint Peter, she's been having hallucinations and hearing voices. And then this gets weird, as we see Gav's 8mm footage and meet Saint Peter's strange family and then we descend into folk horror and that kind of 70s occult weirdness that I love filtered through the torture-filled slashers of the mid 2000s.
This is yet another movie that tells me that I should never go to Serbia, the same as how I will never go to so many places that have terrified me so much through cinema.