29 March - 1 April 2012 DEAD BY DAWN 29 March - 1 April 2012 All screenings in Cinema One Thursday THE FIELDS 2330 – 0115 Friday RED TEARS 1200 – 1335 What You Make It short film programme 1415 – 1515 THE OMEN 1600 – 1800 Long Shorts short film programme 1900 – 2035 BELOW ZERO + Q&A with Signe Olynyk and Bob Schultz 2115 – 2315 THE PUPPET MONSTER MASSACRE 0015 – 0130 Saturday DELIVERANCE 1245 – 1445 Cutting Edge short film programme 1530 – 1715 NIGHTMARE FACTORY 1815 – 1950 LOBOS DE ARGA + Q&A with Juan Martinez Moreno 2045 – 2250 Late Night Triple Bill Bear + JUAN DE LOS MUERTOS 0000 – 0155 Infernal Nuns + DEMONS 0230 – 0405 MACABRE 0425 – 0600 Sunday CREEPSHOW 1345 – 1550 2D & Deranged short animation programme 1630 – 1740 RED NIGHTS 1830 – 2015 HAUNTERS 2100 – 2245 Freebies, Blethering, Shit Film Amnesty 2330 – 2350 THE CABIN IN THE WOODS 2350 – 0140 Some times may be subject to slight change. Welcome to Dead by Dawn! It’s sound advice to be more afraid of the living than the dead. Sure, the dead can kill you, but at least they’re easy to spot. In this year’s programme too many of the monsters will smile when they meet you, and will still be smiling when they lock you in a meat freezer. Or encourage you onto a ledge. Or offer to share their martini. You could try politely declining their kind offer, see how that works out... Dead by Dawn is a discovery festival which exists to showcase potential and vibrant emerging talent, but also aims to screen the widest possible range of what can be described as horror both in feature and short form. Dead by Dawn celebrates the film-makers who make the familiar feel fresh, reinvigorated and profoundly unsettling. I hope you have a great festival! Adèle Adèle Hartley Festival Director We’d like to thank these organisations for their support: HAUNTERS Cho-in wasn’t the healthiest or happiest might leave others in pieces. It’s by pure (no stranger to inspired genre-blending, he child, with a sickly build, a prosthetic leg chance that Cho-in and Kyu-nam cross wrote the awesome “kimchi Western” The and, worst of all, a fearful and abusive paths, and while Cho-in’s powers, and Good The Bad The Weird), the occasional family. He has one strength, though, albeit the extent of his malice, are already quite narrative quirk and oddball joke (watch for a carefully hidden one – he has instant apparent, it is then that Kyu-nam’s abilities a subtle poke at da Vinci’s Last Supper in control over the mind and actions of anyone truly surface. Not only is he resistant to the junkyard), and the underlying thread who falls under his gaze, be it his violent physical damage, he is also the only person of solid friendship as life’s true treasure, father (who Cho-in deals with one overcast who Cho-in can’t dominate with his mind. never distract from but in fact only day in a quick but shocking manner) or And as Cho-in soon discovers, Kyu-nam is enhance the impact of this distinctive complete strangers. the type of guy who’ll stop at nothing to and intelligent film. right a wrong and protect those he cares for. Today, Cho-in is quite comfortable Rupert Bottenberg financially — mind control has its obvious No capes, masks, leotards or other fancy advantages — but is still a gaunt, brooding apparel here. HAUNTERS is a superhero loner. Kyu-nam, on the other hand, is the film that never explicitly announces itself polar opposite. He’s boyishly handsome, as such, despite its perfectly counter- outgoing, cheerful and a good buddy to balanced champion and villain. In fact, his two best friends, a pair of immigrant at first blush, it seems to owe more to the South Korea / 2010 / 100 mins workers from Turkey and Ghana with Asian horror wave, not only in its grim and Director: Min-suk Kim whom Kyu-nam kids around and whiles washed-out aesthetic but in its absolutely Producer: Yu-jin Lee away the hours at the scrapyard where they heart-stopping moments of supernatural Writer: Min-suk Kim work. He also seems surprisingly resilient, violence. Moreover, thanks to a clever DoP: Kyung-Pyo Hong Cast: Choi Deok-Moon, Jeong Eun-Chae, bouncing back quickly from accidents that script and astute direction by Kim Min-suk Soo Go, Dong-won Kang, Da-kyeong Yoon For the benefit of those living under a stuff. You know, first steps, first teeth, first UK/USA / 1976 / 111 mins rock these last 30 years, the story is as words, but it’s not long before the truth Director: Richard Donner follows: Robert Thorn (Gregory Peck) is about their son’s identity is revealed. It’s Producer: Harvey Bernhard Writer: David Seltzer a hotshot politician on the rise who has it then up to Robert to make yet another Music: Jerry Goldsmith all. Well, almost all. What he wants dearly tough decision – whether or not to dispose DoP: Gilbert Taylor is an heir to his proverbial throne. His of his little bundle of demonic infamy. The Editor: Stuart Baird prayers are both answered and pissed on answer to that is evident from Damien’s F/X: John Richardson, George Gibbs, Roy Field the night that his wife goes into labour. return in two sequels, but even if you Cast: Gregory Peck, Lee Remick, David Upon arriving at the hospital, he finds out know the ending, THE OMEN is still one Warner, Billie Whitelaw, Harvey Stephens, that their child, a son, was stillborn. Before hell of a ride. Patrick Troughton, Martin Benson, grief has even a moment to set in, Robert’s Robert Rietty, Tommy Duggan, John Stride, Anthony Nicholls, Holly Palance, given an interesting option. As *ahem* Top-notch acting, great camera work, an Roy Boyd, Freda Dowie, Sheila Raynor, luck would have it, that very night, in unforgettable score, and even a nice bit of Robert MacLeod, Bruce Boa, Don Fellows, that same hospital, a mother died during gore thrown in for good measure. Without Patrick McAlinney, Dawn Perllman labour and left her son without a parent. question I could spend the next ten He’s then informed by a rather dark priest minutes writing about why this film is a that nobody would ever have to know. classic, but I’m sure you already are aware. Desperate to have a child of his own and Honestly, it doesn’t get much better than not wanting to see his wife (Lee Remick) this. THE OMEN has it all! have to go through the agony of the night’s true dealings, Robert accepts the child into From a review by Uncle Creepy for his family as their son. dreadcentral.com Things go pretty well for the trio after that. There’s the usual bringing up baby Deliverance “Chromium… paper tissues… It’s nice,” Adapted from a novel by James Dickey, tale of humanity vs nature in which one Jon Voight tells some hospital attendants DELIVERANCE is a film about finding side can only win by surrendering to near the end of 1972’s DELIVERANCE. the place where ideas mean less than the other. The construction of a dam He’s rambling, but there’s sense beneath instinct. In the least violent of the film’s destined to strip this piece of wilderness the incoherence. Coming out of a back- iconic scenes, Cox launches into a spirited away forever spurs the trip on and leads to-nature weekend gone horribly awry, guitar-vs-banjo duet with a malformed Reynolds to exclaim, “They’re drowning he must find any signs of human society teenage boy. Both appear delighted with the river.” But nothing, the film keeps comforting, even though getting away from the musical connection they make, but that suggesting, can stay submerged forever. all that comfort was the whole idea. connection ends with the last note. Cox is a tourist who only thinks he’s found a Review by Keith Phipps for The Onion AV Voight is one of four men who set out on new home. Such moments only intensify Club / avclub.com the weekend, and one of the three who as their journey progresses, the river grows make it home. They’re all the product of more challenging, and the locals become white-collar Atlanta, but in spite of their less hospitable. USA / 1972 / 110 mins common background, they have widely Director: John Boorman Producer: John Boorman different dispositions. Ned Beatty has Working from a screenplay by Dickey, Writer: James Dickey a softness that befits his girth. Ronny Boorman and cinematographer Vilmos Music: Michael Addiss Cox’s gentle, bespectacled guitar-playing Zsigmond play the parts of patient DoP: Vilmos Zsigmond character wants only to pick and grin. The observers as Voight and his friends are Editor: Tom Priestley F/X: Marcel Vercoutere most forceful personality belongs to Burt forced to adapt, or maybe devolve, to fit Cast: Jon Voight, Burt Reynolds, Ned Beatty, Reynolds, a man whose confidence and their new surroundings. Their adversaries Ronny Cox, Ed Ramey, Billy Redden, machismo are shored up by expensive are human, but they seem more like Seamon Glass, Randall Deal, Bill McKinney, hunting equipment and a lot of tough talk. extensions of the mud and foliage than Herbert ‘Cowboy’ Coward, Lewis Crone, Ken Keener, Johnny Popwell, John Fowler, But talk, they all discover, only goes so far. anything resembling civilization. It’s a Kathy Rickman Jack the Hack is a screenwriter with a minimum and instead scares the audience Canada / 2010 / 98 mins writer’s block to end all writer’s blocks.