Mattie Do has been making waves in the horror genre in the last few years after blending horror elements with sci-fi and drama, and for producing films in her home country of Laos as the first and only female AND horror director. With her new film The Long Walk recently being released on VOD by Yellow Veil Pictures, we got a chance to sit down with her to discuss her latest mind-bending masterpiece of a film.
The Long Walk is a time travel drama taking place in the near future in rural Laos. A scavenger who has the ability to see ghosts finds out that he can travel back in time to the moment when he was a child where his mother was dying of tuberculosis. He tries to prevent her suffering and his younger self the trauma, but finds his actions have consequences in the future.
Director Do has been a prominent voice since her first film Chanthaly was the first Lao film to screen in well known film festivals. Her next film, Dearest Sister, premiered at the Cannes Film Festival and has since been acquired by the horror streaming site Shudder, opening it up to genre fans more broadly. We got to talk to Do about her newest film, and on poetic filmmaking, the state of the modern blockbuster, and Asian futurism.
Bri Spieldenner: Hey Mattie. I’m Bri from iHorror. I love your new film, and I would love to hear some insight about it from you.
Mattie Do: I always think it’s funny when people are like, what are you trying to express as a filmmaker? What would you like to express? Well, what I wanted to express is already on this screen. Otherwise I would be a poet or a novelist, you know?
BS: Yeah. But in a way, I do think that your filmmaking is a little poetic. It’s like a poem.
Mattie Do: I’m glad that people feel that way. Because poetic is an adjective that people use for many things. But poetry is an art that I think, in this modern day, was sort of unacknowledged for a long time. When was the last time you heard anything about poetry? It was at the inauguration of Biden right? With a beautiful young woman. And that made poetry cool again. And so it’s nice to be called poetic because that’s who I think of now.
BS: Already on a tangent, but I would definitely say that a lot of films have lost that emotional aspect to them. I feel like a lot of people, especially American people, don’t read as much anymore. And they’re definitely not reading poetry. So it is very fresh to see a film that is very emotional and has a lot behind the text.
Mattie Do: I think my film is hard for that general audience that you’re talking about though. I think that this is not a film for everyone. And I mean, it’s already a difficult film to categorize and everyone always tries to categorize it, because that’s how films are marketed and presented to the public, right?
A lot of Europeans still have the patience for a challenging film, but I feel like a lot of North Americans are like, oh, horror, and they assume that it’s going to be Scream, or it’s gonna be Texas Chainsaw Massacre, or some kind of jumpscare movie. Then they watch my film, which doesn’t really hold you by the hand, it expects a lot from the audience. And this is something that’s really important to me, because I believe that the audience is smart, I make the kinds of films that I make because I’m f**king tired of being treated like a baby, and being like, sat the f**k down by directors and being like, okay, let me give you the big explain now. And the character literally looks in the camera, and it’s like, let me explain everything that you’ve already seen. I don’t get how that’s happening?
“I make the kinds of films that I make because I’m f**king tired of being treated like a baby”
Or like the flashbacking, like okay, now we’re gonna have this moment and flashback flashback flashback, because they think that we’re f**king dumb, and that we need to have our hands held through the film. I got tired of that. And so I made this film and I think all my films are kind of like this, where I dole out information, and I expect the audience to connect the pieces, because the pieces are all there. Like, everything’s there. It’s just that they have to find the pieces and they have to connect the pieces. And I think that it’s fun to have this challenge.
Life happens like this film. Like where you have to figure shit out, right? You go to the office one day, and everybody’s giving you that look. They’re all staring at Bri and Bri’s like, the f**k did I do at that party on Friday? Like I said, you have to figure it out. Because nobody’s gonna flash you back.
BS: I love that explanation of it. I totally agree with you, that’s one of my least favorite things about modern filmmaking, especially American filmmaking is that it’s very much almost geared towards children. I appreciate that, like you mentioned, there are aspects of sci fi, horror, drama, you can’t really pin it to one thing. But have you ever had problems with finding an audience or marketing your films for that reason?
Mattie Do: I mean, I don’t think that my films are terribly marketable so I never thought about it in this way. These are questions for filmmakers like myself, that are difficult to answer, because I’m not making a film for a demographic. I know there are people out there for my film. And I know that there are people out there who need and want something unique and something personal and something intimate, something that isn’t easily put into a box. And that’s my audience. I can’t say that that’s my market. Because we’re probably rare creatures, not enough to sustain a huge box office Marvel hit. But why isn’t that enough?
In the business of film, people subsidize films all the time, you’ll have the popcorn crowd pleaser and then, on the side, you make this kind of film that is extremely personal that people are seeking and people are desiring and that people who are tired of general fare might want. But it’s okay, if it’s not this big giant hit, because your explosion film was a hit and and made enough money for your company to be able to finance films like this. This is my belief. But I think that the big capital Dollar Sign is so prevalent on everyone’s minds, that they forgotten that they can do business like that, too.
BS: I totally agree with you. So let’s get to my first question. *laughs*
Mattie Do: We haven’t even gotten to the first question yet!
BS: So I noticed that there are a lot of similar themes in your films such as taking care of a sick relative. Is that based on personal experience of yours?
Mattie Do: Well, I took care of my mother when she had cancer and she was terminally ill. And I was at her side 24/7. And I held her while she died. So the effect that has on the human being is bound to ripple out into the rest of their lives. And so all of my films show characters that are flawed, and that have to deal with human trauma and with human inevitability and human consequences. Because, yes, it is very personal. And when you’ve been marked by death like that, when you’ve witnessed it, and when you felt the warmth seeping out of a human being. It’s something you never forget.
BS: I’m sorry that you’ve had that experience, but I am glad that you get to explore it in your films and I do think that it does make a mark.
Mattie Do: I think one of the themes that maybe you hadn’t explored that’s also really common in all my films. One of the most horrific themes that I always explore in my films is that the horror is not the ghost. It’s not the supernatural element. It’s not the stereotypical idea of what horror is. But the horror happens to be the humans surrounding you and happens to be society. And it happens to be humans and their lack of humanity for each other and their greed and how easily corruptible a human is and how cruel a human can be. And that’s something that I think is pervasive in a lot of my work.
BS: Yeah, for sure.
Mattie Do: I’ve never been hurt by ghosts before, Bri, but I’ve been hurt by a lot of humans.
“I’ve never been hurt by ghosts before, but I’ve been hurt by a lot of humans.”
BS: Very fair point. I’d have to agree with that. On that subject, what does horror look like in Laos?
Mattie Do: What’s really contradicting about Lao is they’re extremely superstitious. The majority of the population believes in ghosts, it’s an accepted thing. It’s a normal thing. So no one would tell you that you’re weird or crazy, or psycho if you felt like you saw ghosts, or you have a ghostly encounter. And sometimes it can be not a scary thing. Sometimes it can be a comforting presence that you felt the presence of an ancestral spirit or a protective spirit.
But at the same time, they’re also terrified of ghostly encounters and spirits, and curses and black magic and witchcraft. We’re an extremely folk horror driven society. A lot of people who think of folk horror they think of The Witch or The Wicker Man, or Hereditary or white people horror, but the reality is that we Asians, and we Africans and people of color have had a longer lasting population with folk horror elements, and with paganism, and animism and occult lasting for centuries and centuries before any of this modern puritanical witchcraft ever existed.
And so there’s a very strong fear of the unknown, or the older powers that be or the spiritual, but there’s also a very healthy aspect to this fear where, because it’s so accepted as real, that it’s also a part of our lives and that we can live with it.
So if horror is present, it’s real. It’s every day. But the kind of horror I think I bring on the screen isn’t just the supernatural. It’s the daily existence of life, of how you survive when people have forgotten you or left you behind. How do you survive when you’re consumed by materialism and you want to be this super rich and wealthy powerful human being or influencer or beautiful thing. It’s when we humans get corrupted, and this to me is the horror of Laos and the horror of everywhere for that matter.
“The reality is that we Asians, and we Africans and people of color have had a longer lasting population with folk horror elements, and with paganism, and animism and occult lasting for centuries and centuries before any of this modern puritanical witchcraft ever existed.”
BS: And on the subject of the horrors and the people surrounding your film. I really love how complicated a lot of the characters are, especially the lead. I was wondering what your inspiration for the characters were in The Long Walk?
Mattie Do: Actually, we’d never thought about who the inspiration for the old man was in The Long Walk. He’s just a character that is really built from what I assume all humans would feel even from myself, but I’m not a serial killer, I haven’t killed anyone or anything. But a lot of the complicated emotions that the old man goes through are similar to the emotions that I went through when I lost my dog and lost my mother. My husband is my screenwriter. And when we lost my dog, I’m sure he also went through some complex emotions as well, because we had to euthanize my dog at 17 years old.
I think it’s very human, for us to associate with the old man and to have feelings of regret and of loss. Who wouldn’t feel if they had such a terrible loss in their lives? Who wouldn’t feel like they would want to go back and try and implement a change to make it better for themselves to make it less painful. And this is what the old man is, I think he’s all of us as humans. They’re all terribly flawed, all the characters in The Long Walk. And I think that maybe I’m a little bit cynical, but most humans are flawed. I think all humans are extremely flawed in that we make bad choices.
If you’ve seen my other work Dearest Sister, it’s all about a spiraling descent of bad choices and bad choices compiling on top of each other until you’ve reached this point of no return. Of course, I take that to the extreme in all my films, but I kind of like to push people to the edge in my work. And I like to show them a scenario where if these decisions had compounded and you are forced to step over that line in the sand that’s been redrawn so many times, what could happen, and how bad can it get? And how much worse can it get?
So I wouldn’t say that there was like any one inspiration to the character, but I think that I am trying to accumulate my own feelings, as well as what I think is human feeling into him. And that’s why it’s easy to really like him, even though, when he becomes a dark, super horrible serial killer that’s killed like 20, or 30, young girls, y’all are like, oh my God, no, he’s a monster now. Don’t we love him? You’re not that man. And he says, I’m not a bad man. But the reality is, when the film opens, he’s already killed nine women. Like, this is the guy that we’re sympathizing with, this is the character that we love. And I think that that’s something that I want people to think about, too, is just because we can associate ourselves in him. Does that make him a good person?
BS: I have a question about the ending of the film. Since it is, in my opinion, very dark. But at the same time, it doesn’t end necessarily on a dark note. How do you see the ending of your film? Do you see it as hopelessly bleak?
Mattie Do: I think it’s ultra dark. Not hopeful at all. Really, the ending is like, ridiculously dark. One of the first words that I heard coming out of the first screening we had in Venice, from one of my crew members was, that was really bittersweet. And it’s true. It is a bittersweet ending, it’s really gorgeous, the setting is wonderful with a sunrise, the road that we’re all familiar with that we’ve all come to know, the two characters that we also have come to know and love. And the reunion that the two of them have, it seems so happy and they’re happy to see each other, you can see that they’re extremely happy to be together, but they’re trapped.
Neither of them have gotten to move on. No one in the rest of the world knows where their bodies are. So no one’s going to be able to dig them up to do the right funeral rites to let them move on according to Lao belief. And so they’re stuck in this sort of in between space, in this limbo, in this purgatory, but at least are stuck together, at least, they’re with the version of themselves that they love the most. And they can be like eternal companions in this positive state.
But the reality is that she never got to move on. That was her main goal and her main desire at all to begin with was to be able to move on and be reborn, because we’re Buddhist in Laos, and that’s what happens if you die, you get reborn until you reach Nirvana. But that doesn’t happen. It doesn’t happen for the little boy either. And she straight up says to him as an older version of himself, I don’t know where you go, and she loves them both. She loves him, but by that time, she kind of doesn’t give a f**k you know? And in her own way, she’s like, I have to move on with what’s left. And it’s a super sad and dark ending. It’s not hopeful at all, but at least they’re stranded into perpetuity together.
BS: I love that explanation from you. Yeah, it is very dark. So I love that.
Mattie Do: It’s very deceiving because when you first see her smile, she’s excited to see him and he’s so excited. He raises his hand. We didn’t subtitle that. But he basically says, “Hey! girl!” he screams “hey, lady.” And then she picks up the extra orange for him. And the sun is just gorgeous. And he’s running to her and she’s walking to him and you feel so happy. But then all of a sudden you realize what’s happened. And you’re like, dude that sucks.
BS: What did you base the futurism aspects on in the film? Where did you get this kind of future? Or why did you even choose to set it in the future?
Mattie Do: It would be easier for me to set it in the future than to set it in the past. So if I were to set the old man now in present day. And then I were to go back 50 years then I’d have to deal with costumes, the budget would be ridiculously high then I have to deal with portraying a period piece, basically. Because in Laos 50 years ago, it was a period film. I mean, even in the States 50 years ago is a period film, right? Like the cars are different. Everything’s different. So budget constraints helped a lot.
But also having it be set in the future was a huge commentary on how little the world moves, and how stagnant the world actually is, especially in a country like mine. I live in a developing country, people call it a third world country. And there’s all of these assumptions that people make about third world countries, that we have nothing that we’re like beggars, and that we’re toothless, poor, brown people who have never encountered technology before, but it’s based on reality. Like right now, you can come here and yes, there’s still dirt roads, yes, there are still villages that look like the old man’s house. And the market still looks like that. But at the same time, you can go buy vegetables from a market lady, and they’ll ask you for your QR code. And they’ll ask you to scan it with your phone. You know what I mean? And now it’s common with Venmo in the States, right?
But there was a period of time where there would be like Western tourists who would come here and we had had advancements in Asia, that were so far beyond the advancements of the Western world, that they couldn’t understand it. And they couldn’t accept it because they were also in a fresh market, with a dirt road, surrounded by people wearing traditional clothes, who spoke a language that wasn’t English. And it was like they had this mental block about no, no, no, these aren’t advancements, they’re still poor brown people, right?
And so I thought it would be fun to set something in an Asian futurism scenario, and also to show people that for as many advancements and technological progresses, we might have in 50-60 years, the human condition is still going to be present. It’s one of the things that I actually really detest about sci fi films is like, yay, we got the flying cars. We got the holographic billboards like in Blade Runner. Everything’s urban, where the f**k did the country people go? Human problems are still human problems, even if you got a flying car, who pays the bills on that flying car?
BS: I feel like the assumption is that outside of the cities, everything is destroyed by the environment personally, but that’s me insinuating.
Mattie Do: So it’s like Mad Max out there. In the metropolis you’re fine. But the food has to come from somewhere. And I guarantee you it’s not the city.
‘Sinphony’ Trailer Reveals a New Terrifying Anthology Experience
Sinphony: A Clubhouse Horror Anthology offers up nine new tales of horror all packed in a tense set. The stories range from a witch trying to protect her kids from a killer to mold spores that make you ravenous if inhaled.
The synopsis for Sinphony: A Clubhouse Horror Anthology goes like this:
Conceived and curated entirely on the popular, audio-based social media platform Clubhouse and produced by Screen Anthology, SINPHONY: A Clubhouse Horror Anthology features a group of international filmmakers each exploring a character dealing with tragedy caused by a supernatural entity.
The directors contributing segments to the film include a new who’s who of horror: Haley Bishop, Jason Ragosta, Sebastien Bazile & Michael Galvan, Mark Pritchard, Kimberley Elizabeth, Jason Wilkinson, Nichole Carlson, Steven Keller and Wes Driver.
SINPHONY’s shocking stories include: an innkeeper’s growing concern about his secretive new guests; a contractor who inhales mold spores that lead to murder; a couple confronting the fact that one of them is a ghost; a witch protecting her child from a killer; a dance craze that has dire consequences, and much more.
Sinphony’s directors include Jason Ragosta, Steven Keller, Haley Bishop, Wes Driver, Mark Pritchard, Kimberley Elizabeth, Jason Wilkinson, Nicole Carlson, Michael Galvan & Sebastien Bazile.
Sinphony arrives in theaters, on digital and in theaters beginning October 21.
Keanu Reeves Will Return As ‘Constantine’ in Sequel Directed by Francis Lawrence
Keanu Reeves will finally return as John Constantine in a film directed by Francis Lawrence once again. Deadline reports that the new film has been given the greenlight. The first film came out back in 2005 and introduced a very different version of DC’s Hellblazer John Constantine.
The Constantine sequel will be directed by Lawrence and produced by Bad Robot with JJ Abrams and Hannah Minghella. Plus, Akiva Goldsmith is set to write.
Over the years since the release of 2005’s Constantine, Matt Ryan played a very authentic version of the blonde, British demonologist for a shortlived NBC series. Ryan has also given the character voice in animated films as well as portrayed the character in spinoffs to other DC worlds such as Legends of Tomorrow.
The synopsis for Constantine went like this:
As a suicide survivor, demon hunter John Constantine (Keanu Reeves) has literally been to hell and back — and he knows that when he dies, he’s got a one-way ticket to Satan’s realm unless he can earn enough goodwill to climb God’s stairway to heaven. While helping policewoman Angela Dodson (Rachel Weisz) investigate her identical twin’s apparent suicide, Constantine becomes caught up in a supernatural plot involving both demonic and angelic forces. Based on the DC/Vertigo “Hellblazer” comics.
Over the years we have heard buzz about a possible Constantine sequel several times, with no actual flame behind the sparks. So, it is definitely exciting to see the film actually moving forward.
Stay tuned for more Keanu Constantine details.
Shudder Celebrates Halloween with Argento, Dragula, Fulci, & More!
September is almost halfway over, but Shudder’s 61 Days of Halloween has only just begun. The all-horror/thriller streaming platform has curated a haunted host of horrors for those of us who live spooky season all year around, but go extra hard from September 1st to October 31st.
Next month is no different with the streamer creating a curated Dario Argento Collection as well as The House of Psychotic Women which features some of our favorite unhinged femme fatales.
Take a look at the full list of October releases below, and refresh your memory with this month’s schedule by CLICKING HERE.
What’s New on Shudder in October 2022!
Queer for Fear: The History of Queer Horror: Queer for Fear is a four-part documentary series from executive producer Bryan Fuller (Hannibal) and Steak House (Launchpad) about the history of the LGBTQ+ community in the horror and thriller genres. From its literary origins with queer authors Mary Shelley, Bram Stoker, and Oscar Wilde to the pansy craze of the 1920s that influenced Universal Monsters and Hitchcock, through the “lavender scare” alien invasion films of the mid-20th century and the AIDS obsessed bloodletting of 80s vampire films, Queer for Fear re-examines genre stories through a queer lens, seeing them not as violent, murderous narratives, but as tales of survival that resonate thematically with queer audiences everywhere. New episodes every Friday through October!
May: Nobody knows what to make of May (Angela Bettis). Born with a lazy eye, for which she wore a patch while growing up, she became a loner oddball whose only friend was a perfectly kept doll. She moves to L.A. and takes up with a filmmaker (Jeremy Sisto), but the relationship sours quickly — and dangerously. She then befriends an alluring lesbian colleague (Anna Faris), but that, too, along with every connection May attempts to make, turns deadly.
The Descent: One year after a tragic accident, six girlfriends meet in a remote part of the Appalachians for their annual caving trip. When a rock falls and blocks their route back to the surface, the group splinters and each one pushes on, praying for another exit. But there is something else lurking under the earth – a race of monstrous humanoid creatures that have adapted perfectly to life in the dark. As the friends realize they are now prey, they are forced to unleash their most primal instincts in an all-out war against an unspeakable horror. Neil Marshall’s relentless, claustrophobic creature feature proves one of the truly scary films of the 21st century and is rightly regarded as essential.
The Descent Part 2: Distraught, confused, and half-wild with fear, Sarah Carter emerges alone from the Appalachian cave system where she encountered unspeakable terrors.
The Gate: When two boys accidentally dig up the gates of Hell and summon an army of tiny demons, they have to work fast to stop the demons from turning them into human sacrifices, or a big bad demon king will soon be slithering through the gate to take over the world. Starring a young Stephen Dorff (Blade).
The Collingswood Story: Young couple Rebecca and John attempt to keep their long-distance relationship alive via video chatting. However, a chance encounter with an online psychic plunges their lives into a world of nightmarish supernatural phenomenon.
Dark Night of the Scarecrow: When young Marylee Williams is found viciously mauled, all hell breaks loose in her small rural town. A gang of bigots pursue a suspect: her mentally challenged friend Bubba Ritter.
The Other Side of the Underneath: In 1972, screenwriter/feminist/radical theater icon Jane Arden adapted her own multimedia stage production “A New Communion for Freaks, Prophets and Witches” into a nightmarish exploration of reason, chaos, and her own battles with mental illness unlike anything audiences have seen before or since.
I Like Bats: Katarzyna Walter stars as a happily single vampire who works in her aunt’s curio shop when not feeding on various suitors and sleazebags. But when she falls for a handsome psychiatrist, she’ll discover that no affliction is more horrific than love. It combines splashes of absurdist black comedy with jolts of old-school gothic horror for a slyly contemporary take on the female bloodsucker mythos.
Footprints: In the most criminally underseen giallo of the ‘70s, Florinda Bolkan (A Lizard In A Woman’s Skin, Flavia The Heretic) stars as a freelance translator who wakes one morning missing all memory of her past three days. But will a trail of odd clues lead her to a place where perception and identity are never what they seem? Directed by Luigi Bazzoni (The Fifth Cord) with cinematography by three-time Oscar®-winner Vittorio Storaro (The Bird with The Crystal Plumage).
The Rats are Coming! The Werewolves are Here!: The Mooney’s are a typical English family, except for one tiny detail… they’re all werewolves. One member of the family is of a mind to change their legacy, which stirs up family drama of the worst kind. The second of gutter auteur Andy Milligan’s productions made in England, this werewolf family saga is filled with the bitter worldview and confrontational hysteria Milligan is known for.
Deadstream: A disgraced and demonetized Internet personality (Joseph Winter) tries to win back his fans by live streaming himself, spending a night alone in an abandoned haunted house. However, when he accidentally unleashes a vengeful spirit, his big comeback event becomes a real-time fight for his life (and social relevance) as he faces off with the sinister spirit of the house and her powerful following. Deadstream stars Joseph Winter, who wrote and directed the film with Vanessa Winter. (A Shudder Original)
Opera: A stalker torments an opera star by forcing her to watch her friends being murdered in one of giallo horror god Dario Argento’s most terrifying films. When young operetta Betty is thrust into a leading role in Verdi’s Macbeth, she’s unprepared for the carnage that’s going to be unleashed. Soon enough she’s being stalked by a black-gloved killer who loves tying Betty up and taping needles around her eyes so she – and by extension us – are forced to watch the vicious slayings. The great Brian Eno and Goblin’s Claudio Simonetti composed the stellar score.
The Stendhal Syndrome: A detective suffers strange hallucinations while hunting a serial killer in Dario Argento’s bone-chilling ‘90s masterpiece. Anna (Asia Argento) is on the trail of a psycho when she experiences Stendhal syndrome, a condition that causes people to become overwhelmed by works of art to the point of psychosis. But when the killer kidnaps and rapes her, it begins a process that threatens all who cross Anna’s path. Using CGI to bring Anna’s artistic hallucinations to life, Argento crafts a brutal yet visually stunning thriller that stands on par with his classics.
Identikit: In what remains the most obscure, bizarre, and wildly misunderstood film of her entire career – and perhaps even ‘70s Italian cinema – Elizabeth Taylor stars as a disturbed woman who arrives in Rome to find a city fragmented by autocratic law, leftist violence, and her own increasingly unhinged mission to find the most dangerous liaison of all. Academy Award® nominee Ian Bannen (The Offence), Mona Washbourne (The Collector) and Andy Warhol co-star in this “unique, hallucinatory neo noir” (Cult Film Freaks) – barely released in America as The Driver’s Seat – directed by Giuseppe Patroni Griffi (‘Tis Pity She’s A Whore), adapted from the unnerving novella by Muriel Spark (The Prime Of Miss Jean Brodie) and featuring cinematography by three-time Oscar® winner Vittorio Storaro (Apocalypse Now, The Last Emperor).
Dragula Season 1: The Boulet Brothers host a competition of drag performers who don’t just push the envelope – they hew it up and spit it out. With themes like Zombie and challenges like being buried alive, this ain’t your momma’s drag competition. Joining seasons 2, 3 and 4 and ahead of the upcoming Titans spin off exclusively on Shudder, revisit the first season of the Boulet Brothers’ beloved groundbreaking drag-horror competition.
Lux Aeterna: Béatrice Dalle and Charlotte Gainsbourg are on a film set telling stories about witches. Technical problems and psychotic outbreak gradually plunge the shoot into chaos. Written and directed by Gaspar Noé.
Dark Glasses: In Dark Glasses, an eclipse blackens the skies on a hot summer day in Rome – a harbinger of the darkness that will envelop Diana (Ilenia Pastorelli) when a serial killer chooses her as prey. Fleeing her predator, the young escort crashes her car and loses her sight. She emerges from the initial shock determined to fight for her life, but she is no longer alone. Defending her and acting as her eyes is a little boy, Chin (Andrea Zhang), who survived the car accident. But the killer won’t give up his victim. Who will be saved? The long-awaited return from Italian master of horror and acclaimed writer-director Dario Argento, the film stars Ilenia Pastorelli, Asia Argento and Andrea Zhang. Beginning Friday, October 7, Dark Glasses will debut at the IFC Center in New York and at the Laemmle Glendale in Los Angeles, ahead of the film’s streaming debut on Thursday, October 13.Additional theaters, to be announced later, will follow beginning Friday, October 14. (A Shudder Original)
She Will: After a double mastectomy, Veronica Ghent (Alice Krige), goes to a healing retreat in rural Scotland with her young nurse Desi (Kota Eberhardt). She discovers that the process of such surgery opens questions about her very existence, leading her to start to question and confront past traumas. The two develop an unlikely bond as mysterious forces give Veronica the power to enact revenge within her dreams. Also starring Malcolm McDowell, Jonathan Aris, Rupert Everett, and Olwen Fouéré. Directed by Charlotte Colbert. (A Shudder Exclusive)
V/H/S/99: V/H/S/99 marks the return of the acclaimed found footage anthology franchise and the sequel to Shudder’s most-watched premiere of 2021. A thirsty teenager’s home video leads to a series of horrifying revelations. Featuring five new stories from filmmakers Maggie Levin (Into The Dark: My Valentine), Johannes Roberts (47 Meters Down, Resident Evil: Welcome To Raccoon City), Flying Lotus (Kuso), Tyler MacIntyre (Tragedy Girls) and Joseph & Vanessa Winter (Deadstream), V/H/S/99 harkens back to the final punk rock analog days of VHS, while taking one giant leap forward into the hellish new millennium. (A Shudder Original)
Joe Bob’s Haunted Halloween Hangout: For his fourth Halloween special on Shudder, the World’s Foremost Drive-In Movie Critic leaves no plastic skull, fake spider, or foam tombstone behind in his mission to celebrate the Samhain season the RIGHT way for once! Leaving nothing to chance, Joe Bob and Darcy enlist the help of a special surprise guest.
Manhattan Baby: In Lucio Fulci’s chilling follow-up to The New York Ripper, an evil Egyptian entity possesses the young daughter of an archaeologist. When Susie returns home, she and her brother Tommy start behaving badly, and visitors to their room begin turning up dead. Can Susie’s parents stop the entity from destroying her? Or is it already too late? Borrowing elements from Rosemary’s Baby, The Exorcist and Poltergeist, Fulci crafts a surprisingly gore-free ghost story that favors suspense over gruesome kills. The opening sequence ranks among the director’s best work.
Demonia: In what fans consider his last great film, Godfather of Gore Lucio Fulci returns to the startling imagery and bloody excesses of his ‘70s/‘80s classics for an unholy saga of demonic nuns and supernatural carnage: When a Canadian archeological team excavates the ruins of a medieval Sicilian monastery, they unleash the vengeance of a crucified coven of satanic sisters with full-on Fulci fury.
Aenigma: For his final horror hit of the ‘80s, writer/director Lucio Fulci combined elements of Carrie, Phenomena, and Suspiria with the grisly surrealism of his own past classics for one last shocker: When a bullied student at a New England girls school becomes comatose after a prank gone wrong, her tormenters will suffer graphic telepathic punishment that includes the infamous ‘death by snails’ scene.
Fulci for Fake: He was known as The Maestro of Splatter, but who was the real Lucio Fulci? Through never-before-seen home movies, rare behind-the-scenes footage from his classic films, audio confessions from Fulci himself and revealing interviews, writer/director Simone Scafidi creates an unflinching portrait of the one of the most visceral, controversial, and immortal horror filmmakers of all time.
The Boulet Brothers Dragula: Titans: Hosted and created by the Boulet Brothers, “The Boulet Brothers’ Dragula: Titans” is a ten-episode spin-off series starring some of the most popular drag icons from the show’s previous seasons competing in a grand championship of drag artistry and shocking physical challenges for a one hundred-thousand-dollar grand prize, the headlining spot on the upcoming world tour and the first ever “Dragula Titans” crown and title. Guest Judges include Elvira, Harvey Guillen, Justin Simien, David Dastmalchian, Poppy, Alaska, Katya, Joe Bob Briggs, Bonnie Aarons, Barbara Crampton, and more to be announced later. Exclusively on Shudder!
Resurrection: Margaret’s life is in order. She is capable, disciplined, and successful. Everything is under control. That is, until David returns, carrying with him the horrors of Margaret’s past. Resurrection is directed by Andrew Semans, and stars Rebecca Hall and Tim Roth. (A Shudder Exclusive)