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TIFF Review: ‘The Wind’ Howls as an Atmospheric, Sinister Horror-Western

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the wind review TIFF

Directed by Emma Tammi, The Wind is a grim, atmospheric study of a desolate environment that hides a dark secret.

The script was developed from true first-hand accounts of frontier women who settled in the prairies and were driven mad by the unrelenting howl of the wind. Written by Teresa Sutherland, the plot explores this madness through a dark supernatural influence as the characters panic about what evils could be moving through the dark nights.

Set in the 1800s, the story is told in a non-linear structure, meaning that the viewer jumps through the timeline to understand how the story unfolds, giving depth and significance to each character’s emotional state.

via IMDb

We follow Lizzy (Caitlin Gerard, Insidious: The Last Key), a young woman who is thrilled to see new “neighbours” move in to a nearby cabin. Across the vast field, their home is visible as just a flicker of light through the dark of night. Lizzy and her husband do their best to make the new couple feel welcome, but the new resident’s young wife, Emma (Julia Goldani Telles, Slender Man), struggles to adjust from her previous life in the city. The longer they stay, the stranger Emma’s actions become as she is convinced that an evil entity is after her. When Lizzy’s husband must leave home for a several-day-on-horseback journey, she starts to question her own comfort and safety in this oppressive isolation.

The film revels in its atmosphere – a bleak, hopeless tundra with no help in sight. Lizzy is our guide and unreliable narrator through the story. We stick to her side through the whole film, moving through the daily motions of necessary chores and feeling her terror as she faces each night alone.

Written, directed, edited, and designed by women, the relevance of lines of dialogue like “Don’t be unpleasant in front of the men” are not lost on the audience. This idea of the “hysterical woman” is communicated with an appropriate weight.

via TIFF

For a film that focuses on the madness supposedly caused by an unyielding wind, the sound design is obviously extremely important. The Wind utilizes silence in a way that pushes the plot forward, and it’s stunning. The opening sequence is completely silent – save for the constant howling of the wind – and it immediately sets a taut, unsettling tone.

Despite the limited dialogue, we gain a complete understanding of each character. In true pioneer fashion, it’s an economical script that doesn’t mince words. Every line of communication is direct and to-the-point.

The silence of the film envelops Lizzy and builds a deafening claustrophobia, where every spare inch is filled by that constant wind. It’s so powerful that in the extremely rare occurrences where the wind is not present, it’s a bit of a shock to the senses.

A driving score was composed for the film by Ben Lovett (The Ritual) using period instruments like the nyckelharpa to produce an earthly, haunting sound that plays on a base instinct we’ve long since forgotten.

Because of the tension that’s tightly coiled by the sound design, any sudden releases are sincerely frightening. There were a few moments in the TIFF screening where the whole audience physically jumped (a genuine response that I haven’t witnessed in a long time).

via TIFF

The Wind places the focus on the experiences of women in a period when their stories aren’t often told. Westerns typically focus on a glorified version of a man’s work, promptly ignoring the struggles that went into the development of land and maintenance of a household. It acts as a humbling look at the lifestyle and dangers of pioneer life in the prairies, and the fears that ran wild in such an unrestrained environment.

The non-linear storytelling can be a bit clunky at times, but it’s a necessary function in revealing the full story. Overall, The Wind is a quiet, twisting, thrilling horror-western that settles under your skin and prickles your senses.

 

The Wind will be playing next as part of Fantastic Fest’s 2018 lineup.

via IMDb

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‘Happy Death Day 3’ Only Needs Greenlight From Studio

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Jessica Rothe who is currently starring in the ultra-violent Boy Kills World talked to ScreenGeek at WonderCon and gave them an exclusive update about her franchise Happy Death Day.

The horror time-looper is a popular series that did pretty well at the box office especially the first one which introduced us to the bratty Tree Gelbman (Rothe) who is being stalked by a masked killer. Christopher Landon directed the original and its sequel Happy Death Day 2U.

Happy Death Day 2U

According to Rothe, a third is being proposed, but two major studios need to sign off on the project. Here is what Rothe had to say:

“Well, I can say Chris Landon has the whole thing figured out. We just need to wait for Blumhouse and Universal to get their ducks in a row. But my fingers are so crossed. I think Tree [Gelbman] deserves her third and final chapter to bring that incredible character and franchise to a close or a new beginning.”

The movies delve into sci-fi territory with their repeated wormhole mechanics. The second leans heavily into this by utilizing an experimental quantum reactor as a plot device. Whether this apparatus will play into the third film isn’t clear. We will have to wait for the studio’s thumbs up or thumbs down to find out.

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Will ‘Scream VII’ Focus on The Prescott Family, Kids?

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Since the beginning of the Scream franchise, it seems there have been NDAs handed out to the cast to not reveal any plot details or casting choices. But clever internet sleuths can pretty much find anything these days thanks to the World Wide Web and report what they find as conjecture instead of fact. It’s not the best journalistic practice, but it gets buzz going and if Scream has done anything well over the past 20-plus years it’s creating buzz.

In the latest speculation of what Scream VII will be about, horror movie blogger and deduction king Critical Overlord posted in early April that casting agents for the horror movie are looking to hire actors for children’s roles. This has led to some believing Ghostface will target Sidney’s family bringing the franchise back to its roots where our final girl is once again vulnerable and afraid.

It is common knowledge now that Neve Campbell is returning to the Scream franchise after being low-balled by Spyglass for her part in Scream VI which led to her resignation. It’s also well-known that Melissa Barrera and Jenna Ortega won’t be back any time soon to play their respective roles as sisters Sam and Tara Carpenter. Execs scrambling to find their bearings got broadsided when director Cristopher Landon said he would also not be going forward with Scream VII as originally planned.

Enter Scream creator Kevin Williamson who is now directing the latest installment. But the Carpenter’s arc has been seemingly scrapped so which direction will he take his beloved films? Critical Overlord seems to think it will be a familial thriller.

This also piggy-backs news that Patrick Dempsey might return to the series as Sidney’s husband which was hinted at in Scream V. Additionally, Courteney Cox is also considering reprising her role as the badass journalist-turned-author Gale Weathers.

As the film starts filming in Canada sometime this year, it will be interesting to see how well they can keep the plot under wraps. Hopefully, those who don’t want any spoilers can avoid them through production. As for us, we liked an idea that would bring the franchise into the mega-meta universe.

This will be the third Scream sequel not directed by Wes Craven.

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‘Late Night With the Devil’ Brings The Fire to Streaming

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With as successful as a niche independent horror film can be at the box office, Late Night With the Devil is doing even better on streaming. 

The halfway-to-Halloween drop of Late Night With the Devil in March wasn’t out for even a month before it headed to streaming on April 19 where it remains as hot as Hades itself. It has the best opening ever for a movie on Shudder.

In its theatrical run, it is reported that the film took in $666K at the end of its opening weekend. That makes it the highest-grossing opener ever for a theatrical IFC film

Late Night With the Devil

“Coming off a record-breaking theatrical run, we’re thrilled to give Late Night its streaming debut on Shudder, as we continue to bring our passionate subscribers the very best in horror, with projects that represent the depth and breadth of this genre,” Courtney Thomasma, the EVP of streaming programming at AMC Networks told CBR. “Working alongside our sister company IFC Films to bring this fantastic film to an even broader audience is another example of the great synergy of these two brands and how the horror genre continues to resonate and be embraced by fans.”

Sam Zimmerman, Shudder’s VP of Programming loves that Late Night With the Devil fans are giving the film a second life on streaming. 

Late Night’s success across streaming and theatrical is a win for the kind of inventive, original genre that Shudder and IFC Films aim for,” he said. “A huge congratulations to the Cairnes and the fantastic filmmaking team.”

Since the pandemic theatrical releases have had a shorter shelf life in multiplexes thanks to the saturation of studio-owned streaming services; what took several months to hit streaming a decade ago now only takes several weeks and if you happen to be a niche subscription service like Shudder they can skip the PVOD market altogether and add a film directly to their library. 

Late Night With the Devil is also an exception because it received high praise from critics and therefore word of mouth fueled its popularity. Shudder subscribers can watch Late Night With the Devil right now on the platform.

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