“It’s not a festival, it’s a fest.“
Now in its sophomore year, Bryn Tilley’s Dark Nights Film Fest is catching on, and just after being namedropped by Dread Central in their list of ‘90 Best Genre Film Festivals On Earth’.
Dark Nights Film Fest is just that – a Fest, because ‘festival’ is for the chumps. This is short and to the point; nothing but horror and adjacent genre films for 4 days straight.
Spread across the Art Deco mini-multiplex that is Sydney’s Randwick Ritz, Volume 2 featured Australian Premieres, World Premieres, an Industry Panel on Horror Filmmaking, and even Market stalls.
I managed to catch seven films over the weekend, seeing almost everything I had my eyes on. I sadly had to miss two films, as my allergies were trying to kill me; it’s currently spring in Australia.
One of the perks of Dark Nights Film Fest is that Bryn lovingly pairs each feature with a pre-show short, usually sharing some connective tissue, either stylistically or thematically. I honestly think this should be the norm for all cinema outings. All linking shorts can be found in the program attached at the bottom.
This is not a ranking, but an order of viewing…
1. HELL HOUSE LLC: LINEAGE (2025) USA
Writer/Director: Steven Cognetti
Sub-Genres: Drama • Mystery • Suspense
“The full force of the Hell House is back to claim new victims and reclaim some old ones, too.”
Hell House LLC, #5! While certainly not my favourite film in the HHLLC franchise, I applaud Cognetti for continuing to make these films, as the days of the iconic horror super-franchise are now few and far between.
I’m specifically looking at newer franchises with 4 or more films. Terrifier is on its way, and perhaps the POOHNIVERSE.
We’ve got Scream, SAW, Alien, and Predator (96, 04, 79, 87) – and more recently conceived – The Conjuring, and Insidious films (James Wan is on fire), but none of these have that indie midnight movie feel. Where classic franchises like Elm Street, Friday the 13th, and Halloween (which took off in the 80s) have more or less died out, Cognetti is keeping the slumber party movie marathon alive.
For those sick of the ole Found Footage, you’re in luck, as this is more standard film fare playing out like a dramatic mystery, so you won’t get nauseous from being thrown around. The downside of abandoning the style he cut his teeth on is that you may be left disappointed by the lack of scares and general dread. This is for the Ride or Die fans who want to know every damned thing about this family tree.
It would seem that yet ANOTHER sequel is coming, or at least overtly hinted at. I personally don’t want to have any more of the original mystique stripped away. I liked the basement clowns as just that: uncanny figures with no real agenda or back story.
2. BARK (2023) USA
Director: Marc Schoelermann
Writer: Steve Fauquier
Sub-Genres: Bottle Movie • Survival Thriller • Mystery
“A man awakes, tied to a tree trunk, with no recollection of how he got there or why he is there.”
As is the nature of the 2-hander film, German director Marc Schoelermann delivers a film that requires patience and a grand investment in the character and dialogue aspects. The film snob in me wishes it were in Deutsch, but the English language approach will certainly cast a wider net.
It took me a little while to get engaged – close to the middle of Act 2 – but once I did, I wasn’t letting go. Sometimes it’s worth trusting the process, because by the end, the whole journey makes perfect sense. A slow burn can be utilised to avoid prematurely giving away the twist, which this does perfectly – but you still need that first (perhaps sluggish) chunk to make it resonate.
Bark is a stationary, yet taut, psych-thriller that will keep you guessing right up until the credits, and then have you guessing some more.
I cannot wait to see what trickery Schoelermann pulls out of his hiking bag next.
3. A SERBIAN DOCUMENTARY (2025) Serbia
Director: Stephen Biro
Sub-Genres: Documentary • Extreme • Arthouse
This is exactly what it sounds like. A tell-all, behind-the-scenes look at perhaps the most controversial film ever made. Srdjan Spasojevic’s “A Serbian Film”, or as it is referred to in the doc: “Srpski film“.
As an unwilling fan of ASF, this doc actually blew my mind. When I discovered that the production had a small army of film industry stalwarts and aspiring professionals, with assigned heads of department, like you would expect to find on any regular (legal) project, I was stumped. They even had studio-built sets: many of the interior shots were not shot on location, but fabricated infrastructure like you would find on any Hollywood lot… and not the black-market porn trade. It makes you realize just how well they were able to convince the entire world that this might just be a real snuff film.
As it turns out, it was 100% movie magic, and this knowledge makes me appreciate the scuzzy disaster piece even more.
There are interviews with all of the cast, including the child actors, who are now teens.
It sounds like even with such heinous content on their hands, everyone had an absolute blast making it, and that genuinely warms my heart.
Watching footage of the VFX team creating the head molds, body casts, and whipping up realistic gore was a sight to be seen; simultaneously taking some of the shock out of the shock factor, but also making me feel better in my soul.
This is a once-in-a-lifetime filmic experience, and I implore you to watch the original film and this doco at your earliest (in)convenience.
4. KARMADONNA (2024) SERBIA
DNFF WINNER *BEST FEATURE* & *BEST SCREENPLAY*
Writer/Director: Aleksandar Radivojevic
Sub-Genres: Revenge • Splatter • Tech Horror • Existential
The co-writer of “A Serbian Film” returns to our screens, this time whilst also steering the ship.
Karmadonna is outrageous. An ‘autobiography’ on accelerationist dogma, and you can read all about it in my review, here: https://www.fearforever.com/film/dark-nights-film-festival-karmadonna-serbia/
5. A DESERT (2024) USA
DNFF WINNER *BEST LEAD PERFORMANCE*
Director: Joshua Erkman
Writers: Joshua Erkman & Bossi Baker
Sub-Genres: Neo-Noir • Thriller • Experimental • Road Trip
“A photographer drives around rural America, trying to capture its desolation, but what he finds is far more sinister.”
It is quite the head scratcher to find out this is a debut film. It has all the style and pace of a seasoned auteur. I, like many people, have started to hate that word, but it feels appropriate here.
Even though they are clearly paying homage to a long line of fellow writer/directors, it still feels signature to Erkman, a name I hope we continue to see.
This is, of course, oversimplifying the vision, but a good mental entry point is to picture the universe of Rob Zombie’s “The Devils Rejects”, through the lens of Wim Wenders’ “Paris, Texas”, and with the beating heart of Lynchian noir.
Erkman clearly has such a love for cinema and art in general. AD feels very artsy, and at times on the brink of pretension, but cleverly never tips the scale. It’s outrageous, shocking, and cool as hell to look at. It’s also just so neat to see Large Format cameras back on screen.
Ty Segall’s score will scratch your brain waves, Jay Keitel’s cinematography will knock you flat, and Star Ronsencrans’ editing will push you over the edge.
Kai Lennox is incredible in the lead, and Sarah Lind (A Wounded Fawn) always brings a smile to my face. Also features a cameo from one of my favourite Magicians, Rob Zebrecky. Yes, I said favourite magicians.
Pour a rum & coke, and watch this one with your fellow cinephiles.
6. BRAINDEAD (1992) 4K Restoration. NEW ZEALAND
Director: Peter Jackson
Writers: Stephen Sinclair, Fran Walsh & Peter Jackson
Sub-Genres: Schlock Comedy • Splatter • Feel Good • Period
“An undead army wreaks gory havoc in suburban New Zealand, after patient 0 is bitten by a Sumatran Rat-monkey.”
The Australian title – which I grew up with – is “Dead Alive”. I don’t hate it, but Braindead is much better. Not to be confused with “Brain Dead” (two words), from two years earlier.
A huge thanks to Bryn for helping set up this screening, thanks to his involvement with the film.
I was speechless from go to whoa; an easy ‘Top 10 best in-cinema experiences’ of my life.
Sitting in a sea of people cackling, booing, ooing, and applauding for 90 minutes was true filmic ecstasy. It was the ideal viewing experience for a midnight movie: a packed house, and everyone is on board.
I haven’t seen this movie since I was quite young, and I almost completely forgot how visceral and excessive it was. It may just be the goriest film you will ever watch. It’s super silly, and the gore is somewhat cartoonish (it never feels traumatic), but it’s still nothing to gawk at.
It’s almost like Jackson saw “The Evil Dead 2” and thought, ‘That’s kiddy stuff.’ Upon the rewatch, I have a feeling Braindead was probably a huge inspiration for Edgar Wright’s “Shaun of the Dead”, and beyond.
It is hard to believe that only 9 years later, post “Heavenly Creatures” and “The Frighteners”, Jackson brought the world his vision of “The Lord of the Rings”, and soon after, was knighted by the Queen.
I wonder if she ever saw Braindead.
7. THE SCHOOL DUAL (2024) USA
DNFF WINNER *BEST FEATURE DIRECTOR*
Writer/Director: Todd Wiseman Jr.
Sub-Genres: Dystopian • Thriller • Dark Satire
“13-Year-Old Sammy enlists in a state-run battle royale for school students .”
Another blistering debut, this one from Todd Wiseman Jr.
An uncomfortable glimpse into the American news cycle, specifically, the ever-growing uptick in gun violence, that frankly seems infinite. It is in many ways a comedy, but thankfully, it’s never hilarious.
The School Dual feels like something Stephen King’s “evil twin”, Richard Bachman, may have written. A thought extra fresh in my mind with two Bachman Books hitting our cinemas in the period of 3 months: “The Long Walk” and “The Running Man”. I also don’t doubt these books were an inspiration to Wiseman Jr.
Once a subject matter hits satire, you know – for better or worse – it’s been oversatured.
When we can no longer cry, we have to laugh, and I think that may be the goal here.
Fans of Black Mirror will probably love The School Duel, as it has all the trimmings of a GOOD Black Mirror episode. Every season of BM has a couple of hits that consistently pop up around the water cooler, and this is one of those.
The film’s start will have you chuckling. The finale? Perhaps in tears.
Kue Lawrence is blisteringly good in the lead role of Sammy, and if he doesn’t have a full membership to ‘life as a professional actor’ after this, I’ll eat my hat, and I’m currently on a No Hat diet.
The School Duel is an Arthouse thriller that doesn’t hold back, unless it must for the sake of “good taste”. And with all things considered, this film is tasteful.
MY FINAL BREATH…
As an avid lover of genre cinema, living in a part of the world (Australia) that doesn’t have too many outlets for weird movie lovers, who longs for a little more bang and spectacle with their odd cinema, Dark Nights Film Fest is exactly what the Undead Maniac Doctor ordered.
Bryn has outdone himself, curating this beast of a Fest incredibly, and I cannot wait for Volume 3.
I know that if the stakes are raised, even a little, I’ll be back for Volume 4 with death-bells on.
THE FULL 2025 PROGRAM HERE:
https://issuu.com/darknightsfilmfest/docs/dark_nights_film_fest_-volume_one-_2025_program
