Tue 31 Oct Filmfear Returns for a Second Year, Marking Halloween with a Celebration of Horror, Dark Fantasy and Intense Cinema
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home box office mcr. 0161 200 1500 org home FilmFear Thu 26 – Tue 31 Oct FilmFear returns for a second year, marking Halloween with a celebration of horror, dark fantasy and intense cinema. Previews, cult favourites, short films and special guests come together for another inescapable HOME invasion. homemcr.org/filmfear Created and curated by Film4 and HOME The Shining, 1980 PSYCHO (15) Thu 26 Oct, 20:40 Dir Alfred Hitchcock/US 1960/109 mins Anthony Perkins, Janet Leigh, Vera Miles After exploring the background to Psycho’s famous shower scene in 78/52, here’s a chance to put that carefully constructed murder in context with Alfred Hitchcock’s 1960 game-changer. Audiences that had come to expect horror in the form of Universal creatures or the Gothic flourishes of Hammer were stunned by Anthony Perkins’ all-too-recognisable monster, especially when the resulting chills were presented in such a deceptively simple style. A landmark genre film and a brilliant big-screen experience that seems to become more fascinating - and more suspenseful - the more one learns about it. 78/52, 2017 PREVIEW/ 78/52 (15) + Q&A Thu 26 Oct, 18:15 Dir Alexandre O. Philippe/US 2017/92 mins A glimpse behind the curtain at the practical magic that helped create the 45-second cinematic sleight-of-hand that became the most famous set-piece in horror movie history – the shower scene in Psycho. The title refers to the number of camera set-ups and edits featured in a sequence that took Alfred Hitchcock seven days to shoot, and director Alexandre O. Philippe has created a documentary that – like the scene itself – offers multiple takes and angles on one bloody, game-changing movie murder. Amongst those dissecting formal strategies and cultural legacies are Peter Bogdanovich, Walter Murch, Jamie Lee Curtis and Guillermo del Toro. Preview courtesy of Dogwoof Pictures. Event/ We will be joined by director Alexandre O. Philippe for a Q&A following this screening. Psycho, 1960 2 3 This seems to be an RUPERT JONES Are you particularly drawn FAMILY OF FEAR interesting time for esoteric to dark mysteries or to British horror films. Have you Is Kaleidoscope a film that psychological horror, . sought out any of the recent you’ve been thinking about two narrative types titles that could be seen to and developing for a long that Kaleidoscope has a have come from a similar place time? relationship with? Or do to Kaleidoscope? Director you find yourself not really FIVE QUESTIONS EACH RUPERT: I’d written several Ben Wheatley’s films, or films conscious of genre when scripts before Kaleidoscope, but such as The Ghoul or Prevenge creating? they were all a bit ambitious for FOR KALEIDOSCOPE’S perhaps? a first film. I’d had an idea for a RUPERT: I’ve never been drawn TOBY: Boringly I tend to be story that opens with someone to any one particular genre as SIBLING COLLABORATORS at the mercy of spontaneous, finding a dead body in their such. I tend to be interested in unscheduled trips to the cinema. flat and not knowing how it got characters who are somehow at The tense British psychological gets working with members of Often the films I’ve wanted to there, but that was all. So when odds with themselves or their chiller Kaleidoscope brings your family. You get to see them see have already left town! This I tried to conceive of something own minds. I guess that would together the talents of reveal another aspect of their makes it hard to keep tabs on more contained and affordable include psychological horrors first-time feature director identity... the current temperature. Ben that idea seemed like a good such as The Shining, Vertigo, The Rupert Jones and his brother, Wheatley is good news for place to start. Ideas tend to Tenant, all of them films I love. the ever-dependable actor You worked with Matteo everyone though. ferment on their own for a long To be honest, I’ve been rather Toby Jones. Their close Garrone on Tale of Tales, Peter time before they demand to be taken by surprise by the kind of Your filmography is interesting collaboration has resulted in Strickland on Berberian Sound written down. After circling this film I’ve made, which I count as in that it balances more a Hitchcockian thriller that’s Studio and Frank Darabont one for a while, I had the notion a good sign. personal or passion projects, rich in atmosphere, narratively on The Mist – not to mention that the killer’s mother would some of which are UK based, cunning and driven by a The Hunger Games and Harry be the quasi-detective of the Making a narrative feature with roles in more high-profile detailed and deeply-felt lead Potter - all of which have piece. That’s when I got excited must feel like a big step and productions. Is that a balance performance (with brilliant horror/fantasy elements. Is enough to knuckle down to the a major achievement. Do you that you actively strive to support from Anne Reid and this a genre to which you find script. immediately find yourself maintain? Sinead Matthews). We spoke yourself drawn? thinking about your next By the time it came to shoot feature or do you need time to to the pair about family ties, TOBY: Not especially. I’m drawn TOBY: People often ask me the film, did you have a very let this experience settle and genre confusion and making a to scripts, directors, parts and this question but I don’t really clear idea of how it should consider what you’ve learned mystery… sometimes locations. These were have a very complex policy or look and feel? from it? all good narratives. I’m often strategy. What makes my job TOBY JONES drawn to films which stretch, enjoyable to me is the contrasts RUPERT: When Matt, the RUPERT: It’s very exciting to confound or combine genre. Its it affords. Not just the scale of producer, asked me if I wanted have made a feature, especially Having already been involved hard for me to group these films the films but the fact that I get to build the flat, that’s when I when one watches it on a big in a project with your father together as they all feel fairly to shift time, place, medium and knew how it would look. I love screen with an audience that Freddie (Andrew Kötting’s By distinct. character all the time. building and shooting on sets seems engrossed by it. Of Our Selves), can you tell us what because the illusion is so total, course, the moment you get it was like working with your Do you enjoy the ambiguity everything has to be conjured off the ride – and it’s a long brother Rupert on Kaleidoscope and mystery that comes out of nothing. I wanted to be ride – you want to get straight and how it contributes to the with the parts you play in bold with the contrast and the back on! I think it’s important filmmaking process? Kaleidoscope and Berberian colours, and for the piece to to have a number of projects Sound Studio? There’s a sense I get on with my brother have a certain timeless quality on the go, at whatever stage of TOBY: that not only are aspects of and indeed my father but I to it. Certainly, it had to feel development. That’s my strategy the characters hidden from suppose there’s an anxiety claustrophobic. anyway. the audience, but also from that working together might the characters themselves… Was the character of Carl complicate things. In reality written for your brother Toby? film making is an immensely TOBY: Well that’s good. In both practical business and familial films I’m the central character so RUPERT: Carl’s vulnerability was ties become pretty irrelevant as the story is in a sense revealed not always evident on the page. the clock begins to tick on set. through my responses. Both I think he was hard to like in the I’ve made short films with my characters are in the dark and script but Toby has a quality brother before, comic shorts, in a sense inadequate so they of presence which is innately so I feel pretty confident that I are not heroes in the traditional sympathetic. So I knew he understand his taste. That said, sense. could bring something of Carl’s Kaleidoscope, 2017 it’s an unusual insight that one innocence to the part. 4 5 THE FINAL GIRLS PRESENT: WE ARE THE A Mother of Monsters, 2017 PREVIEW/ KALEIDOSCOPE (CTBA) + Q&A WEIRDOS (18) + INTRODUCTION Fri 27 Oct, 18:10 Sat 28 Oct, 18:10 Dirs Various/GB US CA BR 2016-17/82 mins Dir Rupert Jones/GB 2017/102 mins Toby Jones, Anne Reid, Sinead Matthews It’s been a great year for women in horror and this The title of this tense, unsettling and atmospheric Halloween feminist horror collective The Final Girls psychological chiller couldn’t be more apt, with present a selection of shorts from some of the most debut British director Rupert Jones creating a exciting new female voices in genre cinema. Films that dizzying nightmare that looks slightly different delve deep into the darkest human desires, bringing with each twist and turn. Toby Jones is typically an unforgettable array of monsters to the screen. This terrific as Carl, a single man whose attempt to live slick and scary ten-film programme explores themes of a carefully ordered existence is upset by visitors body anxiety, repressed desires, social pressures and he can’t easily control (Sinead Matthews as a unspoken fears.