HORROR Best Scene Reading of The Vanished by Bill Bradshaw

 

It is the year of our Lord 1900. In the storm of the century, a team of Lighthouse keepers are stranded on a barren island off the coast of Newfoundland. The storm brings carnage and destruction but it also harbors something far more sinister. As the days edge by, the team becomes aware of a centuries old evil that threatens, not just the island, but their very existence. The Vanished is ‘A Perfect Storm’ meets ‘The Wicker Man’ to the bleak backdrop of a North Atlantic isle.

CAST LIST:

Narrator: Mandy May Cheetham
McDonald: Liam Kinahan
Annie: Anjelica Alejandro

 

Submit via FilmFreeway, the exclusive way our festival accepts submissions.:

******

Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier

Casting Director: Sean Ballantyne

Editor: Kimberly Villarruel

Camera Op: Mary Cox

Advertisements

Director BIO: Matt Burkett ({APOLLYON})

Director Biography – Matt Burkett

Quitting his job of 13 years, Matt Burkett went back to school to finish his degree in film editing. He currently freelances as a video editor, visual effects artist, and content creator—responsible for the online show, “MONSTROSITIES,” which covers all areas of “tokusatsu” (Japanese sci-fi & fantasy films/TV).

Director BIO: Jennifer Nicole Stang (THE WHISTLER)

Director Biography – Jennifer Nicole Stang

C5e23dd4ff headshot

Director/Writer, JENNIFER NICOLE STANG was born in Buenos Aires, Argentina, and has lived in England, Canada, the U.S., and Spain. Jennifer founded her film production company, Round Table Pictures (Formerly Heart Anchor Productions), with her brother, Emmett, in 2011. With her company, Jennifer has directed award-winning music videos and short films, and has produced videos for clients such as Sotheby’s International, USC, and Jamie Nichols for Celebrate Dance, which is one of the “top 5 dance shows” in Los Angeles. Her short film, El Lago (The Lake) has received various awards, including Best Fantasy Film at the Mexico International Film Festival, and 1st place at the Honolulu Film Awards. El Lago is also featured on GAIA TV and Cinemakers. Jennifer directed Livvy Stubenrauch (young Anna from Disney’s Oscar-winning film, FROZEN), in her short film Les Nuages (The Clouds), which is part of The Dream Series on YouTube. Jennifer has also produced the web series, Englishman in L.A. starring Ashley Fink (Glee), Eddie Jemison (Ocean’s 11, 12, 13) and Cameron Moir (Non-Stop). The series received rave reviews from In Touch Magazine and Broadway World, and now streams on Amazon Prime. Jennifer is currently co-producing a feature film with Dark Matter Studios.

 

Director Statement

 

The Whistler is a tale about purity and sin, good versus evil, growing up and changing, purification, losing a loved one, and fear of mortality. This story is about an evil entity that leads children away from their homes to prevent them from becoming sinners. The story begins with a teenage girl, Lindsey, who wants to evade growing up and the responsibilities that come with it, namely, babysitting her younger sister, Becky. While taking care of her sister, Lindsey innocently falls asleep on the couch, thinking that her sister has gone to bed. However, when Lindsey wakes up she discovers her sister is gone! Soon after she discovers that someone may have taken her sister and may be after her as well… The Whistler was originally inspired by the original tale of The Pied Piper of Hamelin by Robert Browning, which is about a stranger that arrives in the town of Hamelin who, after not receiving payment from leading the rats away from the town, decides to get back at the townspeople by taking their children away and leading them over a cliff to their death. “The Whistler” character is an evil entity, who, some hundred years ago, stole the children of the town of Blackwood Falls to “save their souls”. Like the Pied Piper, the Whistler leads the children away from their town by whistling to them, as the piper had led the children with his instrument. The Whistler, unlike the Pied Piper, however, has different motivations. The Whistler wishes to rid the children of their sins and so they can be eternally baptized. Those that are pure are spared death, and those who have sinned are cast to the bottom of the falls where they die a horrible death.The culture of the United States, in particular, largely springs from puritanical beliefs that have seeped into every day routines, government system, and societal behaviour. The behavioural aspects include a long list of what to do and what not to do, what to believe and what not to believe, and how to be a “good Christian” to one’s neighbour. We all know about the Salem witch hunts, and although it is a dramatic representation of this society, it is historically accurate and explains the extent as to how far these people went to follow their own rules, abiding by the religious doctrine of the age. Although times have changed, you see the effect in today’s culture. Americans, nowadays, seem to want to break away from these puritanical roots. What has the young generation been taught, what do they want to hold onto, and what are they looking towards? Indoctrination within a society truly creates the world around us. Our character, Lindsey, meets face to face with fears strongly presented by society: what it means to be a grown up, and what it means to be good. Lindsey’s mother tells her she is a grown up now. Is that true? What does that mean? Is the mother’s definition of Lindsey representative of the truth? When do we reach this expected level of maturity? And what is it, specifically, that defines maturity? In some societies growing up is an age factor. In some cultures it is 13 years old, in other cultures 18, sometimes 21. Does being the “right age” make Lindsey competent enough to take care of her sister? This is also a decision made not by Lindsey, but by her parents. Although they are confident that she is capable, Lindsey is not convinced. Afraid of the next step, afraid of failure, are thoughts that teenagers have all the time: Will I get into college? Will I know what to do with my life? Am I capable of making money? The idea of becoming an adult, whatever that signifies to an individual, can be daunting. The intention of The Whistler is to discuss the theme of childhood vs. adulthood. Society is changing and ideologies are changing as well. What once was the norm now seems barbaric (i.e., Medieval public hangings, chopping off heads), and ideologies continue to change throughout the centuries, even decades. The idea of “waiting for marriage” is not as popular as in the 1950’s, for example. The sexual revolution in the 1960’s gave way for other ideas of thought on the matter. And those individuals taught their own children a different perspective from what they themselves were taught. Although parents are still not encouraging their children to engage in sexual activity, it is not as taboo as it used to be, and yet the current still runs strong in today’s society. The fears of STD’s and teenage pregnancies are very strong. Lindsey’s fears of doing the right thing are very present in her mind. One part of her desires to stay pure and virginal, as is taught in her house and in her Sunday school, the other part of her wishes to experience what everyone seems to always be talking about: sex. If there are two threatening ideologies, constantly fighting against each other, which route should she take? Red pill or blue pill? In this story, we know that Lindsey is a virgin. We understand that through the texts with her boyfriend and her conversation about virgins with her younger sister, Becky. Lindsey says she is not a virgin, that she is an adult. Does this mean that not being a virgin indicates she’s an adult? Does she suddenly become an adult if she experiences this societal “ritual”? Not only does the idea of sex play a role in Lindsey’s life, but she has to consider the other factors that come along with growing up: responsibilities. Lindsey sees babysitting her younger sister as a burden for which she is not willing to be responsible. Her reluctance comes from a fear of trusting herself and the changes that happen on the way to becoming an adult. Dr. Robert Firestone, PHD states there are five major aspects to growing up: symbolic separation from parents, fantasy as defence mechanisms, threat of one’s loneliness, responsibilities, and death anxiety. We explore these five aspects in this film. Lindsey becomes separated from her parents and her sister half-way through the film, when fear overcomes her.I have made the lead character in the script female for a purpose. Throughout history there has always been an element of vulnerability when it comes to female characters. In the world, a woman is perceived as the “weaker” sex, and although that may sound archaic to some cultures, the fact remains that men are typically physically stronger than women. And by this statement, I refer to everyday civilians (not female bodybuilders or athletes!) Does a male presence still represent the age old archetype of strength and stability? It is an interesting dynamic to explore. And adding that layer to the story, helps for a more frightening horror. The more vulnerable an audience feels, the more frightened they will be, if they live vicarious through the characters on the screen. They say if you give the same script to five different directors, you’ll end up with five completely different films. There are many ways to interpret story, represent themes, and inject a unique style into any film. And since there is no way to completely visualize the end product of this film, I will describe as best I can, how I see this film come to life, how I intend to shoot it, and how the post work will be approached as well. And being that this is a horror, I will be considering details, creatively and technically, with the intent to create the most frightening film possible. Appropriate camera composition is imperative in order to accentuate essential details to the story in the film, and will inform the audience where to look, making them wonder if there is something sinister lurking in the corners. Careful composition will create a realistic environment that has the audience live vicariously through the characters. Movement will also be essential in building the tension the characters are experiencing. Using tracking shots and Steadicam movements to amplify the anticipation before a scare will create a world that is frightening to both the characters and the audience. The audience must share in these moments of anticipation. Depending on the scene, Steadicam or hand-held will be necessary to create the fear in Lindsey. Hand-held will possibly be used while Lindsey runs through the woods to express the chaos and distress of the moment. Most of the shots will be from Lindsey’s point of view, as the story is told solely through her. On my previous projects I have worked with digital cameras, and find the work flow to be consistently fast and fluid. If working with a digital camera, anamorphic lenses would be ideal. They increase the depth of field, which is preferable for a horror, revealing shadows in the background, therefore setting up scares more effectively. Although reduced light enters the film plane, the depth of field is essential to the story as well as the wide-screen big picture image. Some zoom lenses may be used to create occasional push-pull effects to accentuate either a moment of realization, dizziness, or heightened fear. Editing ultimately creates the proper tension used to give the audience an effective scare. If there is too little anticipation before a scare, the effect is unsuccessful. Elongating the anticipation before a scare is key, and the editing creates a musicality and flow to the story. The editing must let the story breathe without adding superfluous moments that may take away from building tension. Lighting is also important in creating mood and proper feel. It is the balance of light and dark that creates tension in a frame. Focusing on what to light and what to keep in shadows is important. Continually having the audience guess as to what lies in the shadows is crucial. What they cannot see leads to a heightened sense of fear. The film will start with up-key lighting to show the normalcy of Lindsey’s world and the very normal and common situation she is in, and then progress to low-key lighting to accentuate the darkness and insecurity that Lindsey begins to discover within herself. The colours of the film will help to enhance the environment and emotional state of the characters. Cool colours will create a sense of isolation and uncertainty, which I would like to establish especially in the scene in the woods. The colour of light will delineate the mood as well. This will add to the desired emotional effect from the audience. Since the film is about purity and sin, the colour scheme will be very specific. The clothes that the Whistler lays down for the children is white, signifying purity. In the beginning of the film Lindsey wears a red shirt, signifying puritanical sin. The colours in the home can reflect this as well. The production design will be most essential to this story. Lindsey’s house represents the house of original sin, and sin in general. The Whistler tries to get Lindsey to leave the “house of sin” to remain pure, leading her into the woods, towards the falls to be eternally baptized. Visually, we can play with images of purification. The falls, for one. Water is a symbol of Christian purification. The themes of original sin, good vs. evil, and purity can be alluded to in the subtle images within the house and possibly in the woods as well. Original sin can be suggested via paintings, in objects in the house, representing serpents, and apples, “magical” items such as tarot cards, subtle images that the audience may not even be aware of while watching the film. These images will subconsciously infuse the audience with a sense of religion, strong archaic images that stand the test of time, and that also give the audience a sense that this house isn’t a “normal”, every-day house. Sound design is what creates the actual scares in horror films, and the mix is critical in achieving them. For example, in The Woman in Black (2012), the mix is kept low and loud sounds are kept high in the mix, placed seconds before a visual scare to give the audience a jolt before the frightening image hits them, which is done to escalate the degree of the visual shock. The sound design is what will help create the atmosphere of each location as well, such as the crickets at night in the backyard, and the eerie whistle of the evil entity. The sound will also be mixed to explain the characters’ perspective as to where a noise may come from. Many types of sounds add to creating paranormal entities. This is partly what makes them real to the character as well as to the audience. Creaking floors, wind blowing outside, and unusual sounds will create the idea that something lurks in the corners, enhancing the frightening environment, and enhancing the fact that “The Whistler” is very real indeed. The score will have a traditional feel, as the film is about themes as old as time (purity, sin). The style of the soundtrack will be similar to that of Woman in Black and to John Corigliano’s Pied Piper Fantasy. I would like to give the soundtrack a hint of a fairytale vibe, but a fairytale gone wrong. I have worked in the industry as a performer, cinematographer, and as a director, focusing mainly on music videos and short films, most of which are award-winning. My short film, The Lake, garnered a number of awards including Best Fantasy Film at the Mexico International Film Festival and 1st place at the Honolulu Film Awards. The Lake is also featured on GAIA TV and Cinemakers. My short film, The Devil’s Snare, also received a number of nominations from various festivals. The Devil’s Snare is an existential horror film about a man who has a conversation with the Devil one night about the notion of soul existence. It was inspired by old Vincent Price films and told in a way that was inspired by the short stories of Edgar Allan Poe. Horror films have always fascinated me and The Whistler, in particular, is an exciting story filled with captivating themes. The Whistler also has a lot of visual elements to play with and explore to make the most visually terrifying film possible. And this is only a taste of what the feature will be…

Director BIO: Katherine Oostman (THE STRANGER)

Director Biography – Katherine Oostman

Mfa 59

Katherine Oostman was homeschooled, studied at Oxford and worked the Sochi Olympics. She concerns herself with the dramatic, philosophical, and futuristic, so a debate about morality in space is her ideal. Call her if you’d like to engage in one. She fosters a compulsive tendency toward climbing any mountain in front of her (both literal and figurative) and creates high-concept photography in her spare time (the more glitter or metaphors, the better). She’s currently pursuing a career in creative development. Her education includes two bachelor degrees in Media Communication and Creative Writing, a Master of Fine Arts in Film Production from FSU, and a self-proclaimed masters in fort-building.

 

Director Statement

 

There’s something fundamentally haunting about psychological thrillers. They chill, not because they’re gruesome, but because they manifest immersive nightmares from a simple doubt and speak to morality through visceral physicality. Everyone has knocked on the actual or proverbial door of reconciliation, everyone has hurt someone they love. Mistakes are a fundamental element to human nature, but so is forgiveness – if allowed. However, in The Stranger, Blake is faced with the realization that, because of her mistakes, no one believes her. Not even her mother. This is one of my greatest fears: to hurt someone I love so deeply that not only do they distrust me, but they replace what we had with a delusion because of the damage I caused.

HIGHLIGHTS, WINNERS & VIDEOS: June 2018 Horror FEEDBACK Film Festival

AUDIENCE AWARD WINNERS:

BEST FILM: THE DOLLMAKER

SCARIEST FILM: IT BEGAN WITHOUT WARNING

BEST PERFORMANCES: ADDICT

BEST CINEMATOGRAPHY: BEAST

BEST MUSIC: THE LETTERS

Watch the Audience FEEDBACK Videos:

festival posterBEAST, 20min., Australia, Thriller/Film Noir festival posterTHE LETTERS, 18min., UK, Thriller/Drama
festival posterSTALKER, 7min., Czech. Republic, Horror/Thriller festival posterGORGE, 3min., USA, Horror
festival posterABOVE THE MIST, 8min, Canada/South Korea, Horror festival posterTHE DOLLMAKER, 10min, USA, Horror/Fantasy
festival posterADDICT, 15min, Israel, Horror/Comedy festival posterIT BEGAN WITHOUT WARNING, 6min., USA, Horror

The theme of the June 2018 HORROR/THRILLER FEEDBACK Film Festival in Los Angeles was “Sins”. Every single film was about a world and/or characters dealing with sins and conflicts of the past.

This is the festival that I’ll always remember because I consider it the turning point of the Los Angeles FEEDBACK Film Festival. It wasn’t the easiest event to get through for the crew, but they grinded it out and produced the best night we’ve had so far in Los Angeles. The feedback videos are great (make sure you watch them), put together by our new editor Kimberly Villarruel, who was the MVP of the night.

In Toronto, the great team (lead by Mary Cox & Kierston Drier) had been a part of the festival for over 2 years before they were brought on in a moderator & leadership capacity. So they were able to witness many events, and see how they can achieve success despite the muliple conflicts that can occur when producing an event where the audience’s comments are the only thing that really matter

In Los Angeles, it was a fast process for all of them. Shepsut Wilson, who moderates the festival in Los Angeles, only attended two events before she took the mic to lead the discussion. So she’s literally been doing and learning on the job at the same time. And our Festival Director’s Rachel Elder, and Natasha Levy worked at a few events in a 12 month span before they took the leadership duties. So the first few events were definitely a work in progress and learning curve for everybody.

Then June 2018 appeared and we found out what the Los Angeles team were made of. They demand perfection in a festival with so many moving parts that perfection is impossible to obtain. But attempting to get to that goal is what turns something good into something great.

Before I get too “motivational speaker”, I simply wanted to say that we have arrived in Los Angeles and we are saying put forever! With a team like this, we have nowhere to go but up for a long, long time.

See you at the festivals.

– Matthew Toffolo

Short Film: ABOVE THE MIST, 8min, Canada/South Korea, Horror

Abtm campaign final

A young man seeks an assisted suicide with an illegal agency in South Korea.

Project Links
  • Film Type:
    Short
  • Genres:
    Drama, Thriller
  • Runtime:
    7 minutes 40 seconds
  • Completion Date:
    March 20, 2016
  • Production Budget:
    1,000 USD
  • Country of Origin:
    Korea, Republic of
  • Country of Filming:
    Korea, Republic of
  • Film Language:
    Korean
  • Shooting Format:
    Blackmagic 4K
  • Aspect Ratio:
    1:85
  • Film Color:
    Color

2017 – Read the best of HORROR Feature Films – Part 2

BROWSE through the list and read the best of HORROR Feature Film loglines and synopsis from around the world: 

FATHOM, by Adam Miller

FIJI: THE BEGINNING, by Harun Shah

INKED IN BLOOD, by Paul Corricelli

CYBER ZOMBIES VS MUTANT HO’S, by Ed Vela

ELEANOR, Jim Eshom and Matt Denito

STRANGE FRUIT: A GHOST STORY, by Rey Otis

BITE ME, by Tim Aucoin

LOONEY AS A BED BUG, by Dennis Goldberg

CHASING THE ZOMBIE, by Erick Hoffman

HAYRIDE, by Scott Timmons

NECRO NARCO, by Jonathan Gonzalez

A FISTFUL OF ANGER, by David L. Tamarin

THE RECKONING OF JACK THE RIPPER, by Mark Barresi

LEGACY, by Marc W. Johnson

THE STRAYING, by Gregory Blair

THE TUNNEL, by Jessiah O’Donnell

VIDA NOCTURNA, by Jessiah O’Donnell

HELL’S SYMBOL VS HOLY PALM, by Mark A. McKay

THE DEADLY SINS OF FARMAKEIA, by Stephanie Sharp

ZOMBIES FROM THE FUTURE, by Shaun Graham

UNREST, by Bob Heske

TETHERS, by Mark Shea Price

THE RETURNED GIRL, by Catherine E. Johnson

DAWN, by Tim Aucoin

WOLF TRAP, by Shaul Halevy

THE WORK OF ZOMBIES, by Patricia Semler

THE PREYING KIND, by Randy Gross

PORCELAIN, by Mitchell Corner

KILLING MATT COOPER, by Sameer Ketkar

DRAGOMIR, by Douglas Wolf

DANCING WITH DEMONS, by Richard Anthony Dunford

EVIL INTENTIONS, by Lois Terrans

THE SACRIFICE, by Ethan Hunter & Jordan Speed

RAISING HELL, by John M. Light

KILLER CANINE, by Nishant Rana

WITH MONSTERS, by Rob Herzog

VIDEO PITCH: School Spirits, by Jim Curtis

VIDEO PITCH: THE TEASDALE PRIMER by Darian Land

SHADOW OF THE SUCCUBUS by John Condenzio

ISLAND IN THE BAY, by Rhys Bufford

THE MAELSTROM, by Biljana Malesevic

MOMO, by Kevin M. Kraft

EBENEZER: THE UNTOLD STORY, by Joseph A and Shea D. Sacco

WEIRD THREATS, by Mark Wagner

THROUGH THE GLASS CEILING, by Richard Welch

DAM!, by David Edward Wagner

JUSTIFIED TRUE BELIEF, by Martin Jagodzinski

CREEP, by Charlie Coffell

MAD DOG RUN, by Beverly Smith-Dawson

THE NEIGHBOR, by Bernard Mersier

THE BLOODY TOWER, by Anna Taborska

DARK DOMINATION, by Eslam Mohsen

SICK, by Brian Stynes

SIX WALLS, by Jody Levesque

DRAGOMIR, by Ralph D. Shorter

THE DEVIL’S SOUP BOWL, by Bruce Marich

HELLRAZOR, by B. Tatum

DORM OF THE DEAD, by Nathan Illsley

HORS D’OEUVRES TO THE GODS, by Ralph D. Shorter

THE OFFERING, by Adam Ethan Crow

WATCHDOG WOMAN, by Chris Ramlochan and Rock Ramlochan

THE CATABOMB, by Carlos Burgaleta

NOT LONG FOR THIS WORLD, by Matthew Lefmann

HAINT, by Richard M. Novosak

ELENA, by Danek Kaus

BLACK FRIDAY by Ashleigh Nichols and Eddie Beasley

SPEAK NO EVIL by Kurt Fischer

ELENA, by Danek Kaus and Duncan Lloyd

DEO VINDICI, by WH Clark

THE GLASS DEMON, by Jerry J.C. Veit

 

 

Winning HORROR Short Screenplay – RED, by Heath Harris

Watch the winning short screenplay for OCTOBER 2017.

 

It is Christmas Eve. John (40s) drives his wife and son (Michael) up through a snowfilled wilderness. They reach a solitary rental cabin in the woods. Completely alone, Michael worries that Santa Claus will not come, however his father, John, reassures him that Santa knows exactly where he’s going.

Genre: Horror, Thriller

CAST LIST:

Narrator: Laura Kyswaty
Damien: Cameron LeRoy
John: Jim Canale
Natalie: Regan Brown

Get to know the winning writer: 

 What is your screenplay about?

Red is about a family of three that goes to spend Christmas in a secluded cabin, cut off from the world. The husband, John and his wife, Natalie are having marital issues and Christmas Eve goes from bad to worse as tensions rise. Natalie puts their young son, Damien to bed. He is woken up during the night to find that his mother is missing. John tells Damien to go back to sleep so Santa doesn’t find him. John tells Damien to close his eyes immediately if he sees Santa otherwise Santa will be very angry. Damien, after peering out of his window, sees a figure carrying a sack outside, and excitedly runs out to meet Santa Claus. Damien finds the sack to be containing his mother’s dead body. As John approaches, covered in her red blood, Damien instantly shuts his eyes.

What genres does your screenplay fall under?

Horror, Drama

Why should this screenplay be made into a movie?

I think this screenplay should be made into a movie because I believe it is scary, haunting and atmospheric and would be a fun themed watch during Christmas time for horror fans. I also think it raises the topic of domestic abuse and violence within households.

How would you describe this script in two words?

Christmas Murder

What movie have you seen the most times in your life?

Ex Machina

How long have you been working on this screenplay?

About 6 months.

How many stories have you written?

During the course of my MFA program I’ve written about 8-9 stories.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

All I Need – Radiohead

What obstacles did you face to finish this screenplay?

The main problems I was having were logic problems, making sure there were no plotholes and making sure that everything in the story could potentially happen in real life.

Apart from writing, what else are you passionate about?

I love painting and drawing.

You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?

I think FilmFreeway is a great site and is very easy to use and helps me find many festivals that I wouldn’t otherwise know existed.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I loved the feedback I received, I thought it was so well thought out and well written. I love horror and was excited to find a festival dedicated to horror and horror writing.

****

Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

 

September 2017 HORROR Stories, Screenplays, and Short Films

Submit your Horror Screenplay to the Festival Today: https://festivalforhorror.com/

ACTORFAN FICTION Screenplay – WELCOME TO CRYSTAL LAKE (Friday the 13th)
September 2017 Reading
by Mike Mead

ACTORTHRILLER Feature Screenplay – WORD GAMES
September 2017 Reading
by Joel Stern

festival posterNO WAVE, 11min, Canada, Thriller/Mystery
WATCH Audience FEEDBACK
ACTORSHORT STORY Transcript – IN THE CEMETERY
September 2017 Reading
by Mari Tamez

ACTORNOVEL Transcript – BODIE
September 2017 Reading
by Anne Sweazy Kulja

****

Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

2017 – Best HORROR Feature Films. Read story loglines and synopsis

VIEW the best of HORROR Feature Film stories: 

BORN TO BE DAMNED, by Ben Brahmi

GESTATION, by Ntswaki Rampine

DEATH EXPERIMENTAL, by Sean Williams

LEAVES OF WRATH, by Susan Jaegtnes

BLOODy ANIMALS 1, by Circo Antonio Vega Blanco

SOMEBODY’S KNOCKING, by Sherril M. Kinney

THE ORDER, by Ben Jacob

HAPPY NEW FEAR, by Mark Leahy

BLOTEFLY, by Vaughn Jennings-White

DREAMS, by Jonathan Colon

FOXHUNT, by Emily Schooley

OMINOUS, by Kyle Stuck

FAIR DEALING, by Pinakee 

BROOKDALE HAUNTINGS, by Rebecca Paniagua

DEMONS 4 DUMMIES, by Rollin Jewett

CASE 1289, by Jason Charles

THE DARKNESS, by Martin Gomez

A SEASON OF STRAWBERRIES, by Judy Bednarek

SACRIFICE, by Andrew Boylan

THE STAFFORD MULTIPLEX THEATER, by William Smith

SIN, by April de Nyse

THORNE, by Sean Williams

OPPRESSED, by Jeff Thompson

ROME OF THE DEAD, by Sherwin Allen

ROBOTOPIA, by Chad Bowman

SET FOR LIFE, by Jason Rist

LACUNA, by Steve Walters

A BOY AND HIS SOLDIER, by Spencer Guerrero

BLOODSPITE, by Fleurette M. Van Gulden

SURVIVING DESTINY, by Doris Lee

LUMP SUM, by Messan Amlon

XYZOMBIE, by Mickey Blumental

PRICELESS, by John Hunter

THE SECRET OF GODS, by Jiwo Lesmono

WITNESS, by Marquis C. Mosley

SURVICE THE NIGHT, by Skylier Jones

VOID WALKER, by Skylier Jones

MATSQUI MASSACRE, by Mark-Curtis Dunn

SEVEN DEVILS, by Peter Natale

THE DA PINCHI CODE, by Oliver Swartz

THE USHER, by Phil Herman/Franklin E. Wales

MR. UMNUTFRANKENSTEIN, by Catherine Adams Webb

BLOODSTONE: THE SOUL REAPER, by 

ONCE UPON A TIME ON PLANET EARTH, by Tshwarelo Leboa

HOOMANS, by Christoph Furian

INFECTED ROMANCE, by Sarah Kochan

THE HAIR, by Crystal Melville

DEAD TROUT WALKIN NOWHERE, by Gary Clemenceau

BAD MOON RISING, by Tessa B. Dick

KILLER GOAL, by Bruno Machado Gomes

HUMPTONVILLE DAYS OF THE MAN EATING TREES, by Thomas Castillo El Bey

THRENODY, by Patanjali Taylor