Watch the trailer now…

The movie follows a young boy named Mahito who is yearning for his mother and ventures into a world shared by the living and the dead. There, death comes to an end, and life finds a new beginning.

Hayao Miyazaki’s first feature film in 10 years, The Boy and the Heron is a hand-drawn, original story written and directed by the Academy Award-winning director. Produced by Studio Ghibli co-founder Toshio Suzuki, the film features a musical score from Miyazaki’s long-time collaborator Joe Hisaishi. The theme song for the film ‘Spinning Globe‘ was penned and performed by global J-pop superstar Kenshi Yonezu.

The movie has been described by Studio Ghibli as a ‘semi-autobiographical fantasy about life, death, and creation, in tribute to friendship’ and though it was supposed to be Hayao Miyazaki’s last movie, recent reports seem to suggest that may not be the case after all.

During the Toronto International Film Festival (where the movie has its international premier), Studio Ghibli executive Junichi Nishioka told CBC’s Eli Glasner that Miyazaki is currently working on something new

“Other people say that this might be his last film, but he doesn’t feel that way at all,” said Nishioka through a translator. “He is currently working on ideas for a new film. He comes into his office every day and does that.

“This time, he’s not going to announce his retirement at all. He’s continuing working just as he has always done.”

The Boy And The Heron is written and directed by Miyazaki and stars Soma Santoki (Idaten: Tokyo Olympics Story), Masaki Suda (Misuteri to iunakare) and Takuya Kimura (The Swam).

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Taking place from 4-15 October in a multitude of London cinemas, this year’s festival includes genre movies from Garth Davis, Yorgos Lanthimos, Hayao Miyazaki and more.

Here are some of the top genre picks from this year’s London Film Festival…

Asog

Set in the wake of a destructive typhoon, Asog is a witty combination of road movie and docu-drama that is a marvel of trans cinema.

Where/when

Wednesday 04 October 2023 | 20:40 | Prince Charles Cinema

Saturday 07 October 2023 | 12:10 | BFI Southbank.

Birth/Rebirth

Mary Shelley’s Frankenstein gets a new lease of life in Birth/Rebirth, a chilling morality tale from debut director Laura Moss.

Pathologist Rose and nurse Celie work at the same hospital, but they are strangers to each other. Brusque and antisocial, Rose is the antithesis of Celie, a natural caregiver. However, when her daughter’s death leads Celie to discover her colleague’s sideline in reanimation, the two women are thrust together.

Where/when

Wednesday 11 October 2023 | 20:45 | Vue West End

Friday 13 October 2023 | 20:45 | Curzon Soho Cinema

Friday 13 October 2023 | 21:00 | Curzon Soho Cinema.

Deep Sea

Deep Sea is an ‘enthralling’ 3D animated movie that will be shown on the biggest screen in Britain, BFI IMAX.

On a cruise to celebrate her birthday, Shenxiu can’t shake off the loneliness she’s felt since her mother left, while her father enjoys time with his new family. She falls overboard and into a swirling ocean of vibrant colours, where magical creatures and the sinister Red Phantom await.

Where/when

Saturday 07 October 2023 | 11:00 | BFI IMAX, Waterloo

Fingernails

In Fingernails, Anna and Ryan have found true love. It’s been proven by a controversial new technology. There’s just one problem: Anna still isn’t sure. Then she takes a position at a love testing institute, and meets Amir.

Directed by Christos Nikou (Apples), the movie stars Jessie Buckley (Men), Riz Ahmed (Rogue One), Jeremy Allen White (The Bear) and Luke Wilson (Stargirl).

Where/when

Monday 09 October 2023 | 17:45 | BFI Southbank, NFT1

Thursday 12 October 2023 | 20:40 Curzon Soho Cinema

Thursday 12 October 2023 | 20:55 | Curzon Soho Cinema

Foe

Saoirse Ronan and Paul Mescal shine as a couple who receive an unexpected guest in Garth Davis’ unsettling science fiction thriller Foe.

Set around 40 years in the future, the movie explores the lives of a married couple – Han and Junior, played by Ronan and Mescal – that is turned upside down when a stranger, Terrance (played by The Underground Railroad’s Aaron Pierre) arrives at their rural farmhouse and informs the husband he will be sent to a large space station, and his wife will be left in the company of someone else.

Where/when

Tuesday 10 October 2023 | 21:00 | Southbank Centre, Royal Festival Hall

Wednesday 11 October 2023 | 11:30 | Southbank Centre, Royal Festival Hall

Late Night With The Devil

This found-footage comedy is set in October 1977 when waning late-night talk show host Jack Delroy made television history when his audience-baiting Halloween special spiralled fatally out of control. Four decades on, a rediscovered master tape finally reveals what really happened the night all hell broke loose on live TV…

Where/when

Monday 09 October 2023 | 18:20 | Prince Charles Cinema

Saturday 14 October 2023 | 20:15 | Curzon Soho Cinema

Saturday 14 October 2023 | 20:30 | Curzon Soho Cinema

Molli And Max In The Future

After a half-fish-man collides with a crystal harvester’s spaceship in Molli And Max In The Future, their on-off relationship spans multiple years, dimensions and planets, in this lo-fi, sci-fi romcom – featuring Zosia Mamet and Aristotle Athari.

Where/when

Sunday 08 October 2023 | 17:45| Prince Charles Cinema

Wednesday 11 October 2023 | 20:45 |  BFI Southbank

Nightwatch – Demons Are Forever

Nightwatch – Demons Are Forever provides a journey into the Nightwatch universe. Frustrated by her father Martin’s tight-lipped indolence, forensic medicine student Emma gets a job covering the night shift at the mortuary where Martin previously worked, and from where the horror that has blighted her family emerged. When she opens the door to a monster from the past, Emma unwittingly sets off a gruesome chain of revenge.

Where/when

Sunday 08 October 2023 | 18:00| Vue West End

Monday 09 October 2023 | 20:35 | Prince Charles Cinema

Starve Acre

Starring Matt Smith, Morfydd Clark, and Erin Richards, writer and director Daniel Kokotajlo follows his award-winning debut Apostasy with a haunting adaptation of Andrew Michael Hurley’s acclaimed novel.

After relocating to their remote family estate Starve Acre, archaeologist Richard and his wife Juliette find their relationship tested when their young son starts exhibiting strange behaviour. As familial fractures deepen, Richard digs into the dark and disturbing folklore surrounding his childhood home.

Where/when

Thursday 12 October 2023 | 18:10 | BFI Southbank

Sunday 15 October 2023 | 15:00 | Prince Charles Cinema

The Kitchen

From Kibwe Tavares and Daniel Kaluuya The Kitchen is set in a dystopian London in 2040, when the gap between rich and poor has been stretched to its limits. All forms of social housing have been eradicated and only The Kitchen remains.

The movie follows Izi, a hardworking loner who is counting down the days until he can leave The Kitchen and move to one of the sleek luxury penthouses that are popping up all over London. But when he discovers through his job at an ecological funeral home that his ex-girlfriend has passed away, Izi finds his path colliding with that of Benji, her young son.

Meanwhile, the residents of The Kitchen fight back against those trying to destroy it. When Benji comes to The Kitchen in search of his father, Izi is forced to step out of his isolation and become a de facto guardian. But is his bond with Benji actually stronger than he wants to admit?

Where/when

Sunday 15 October 2023 | 19:15 | Southbank Centre, Royal Festival Hall

Sunday 15 October 2023 | 21:00 | Curzon Soho Cinema

Poor Things

Poor Things follows the incredible tale and fantastical evolution of Bella Baxter (Emma Stone), a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Willem Dafoe).

Under Baxter’s protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Mark Ruffalo), a slick and debauched lawyer, on a whirlwind adventure across the continents. Free from the prejudices of her times, Bella grows steadfast in her purpose to stand for equality and liberation.

Where/when

Sunday 15 October 2023 | 19:50 | BFI Southbank

Saturday 14 October 2023 | 17:30 | Southbank Centre, Royal Festival Hall

Sunday 15 October 2023 | 10:30 | Southbank Centre, Royal Festival Hall

Red Rooms (Les chambres rouges)

Robot Dreams

Adapted from Sara Varon’s graphic novel Robot Dreams follows Dog, who is lonely so buys himself a companion in the shape of Robot, delivered in parts for home assembly but soon transformed into a Robotic friend!

Where/when

Sunday 08 October 2023 | 12:00 | BFI Southbank

Sunday 08 October 2023 | 17:00 | BFI Southbank

Sunday 15 October 2023 | 18:20 | Curzon Mayfair

Stopmotion

Robert Morgan’s British horror Stopmotion centres on a filmmaker spiralling into a nightmare of delusions after the death of her domineering mother.

Where/when

Saturday 07 October 2023 | 20:45 | Prince Charles Cinema

Tuesday 10 October 2023 | 20:30 | BFI Southbank

The Animal Kingdom

A strange condition sweeps the world, as people begin sprouting wings, scales, tentacles… Meanwhile a father and son travel south to confront their own trauma in writer-director Cailley’s fantasy drama starring Romain Duris (The Beat That My Heart Skipped) and Paul Kircher (Winter Boy).

Where/when

Thursday 12 October 2023 | 18:00 | ICA, Screen 1

Friday 13 October 2023 | 14:45 | BFI Southbank

The Beast

France’s Bonello’s latest uses a Henry James story as the springboard for a leap into the science-fictional unknown. Léa Seydoux plays a fin de siècle socialite entangled with an admirer (George MacKay). But that’s just one of her lives in this blend of period drama and conceptual crystal-gazing.

When/where

Friday 13 October 2023 | 20:45 | Prince Charles Cinema

Saturday 14 October 2023 | 15:20 | BFI Southbank

The Boy And The Heron

From Hayao Miyazaki (Spirited Away, Howl’s Moving Castle) comes The Boy And The Heron which follows a young boy named Mahito who is yearning for his mother and ventures into a world shared by the living and the dead. There, death comes to an end, and life finds a new beginning. This is a semi-autobiographical fantasy about life, death, and creation, in tribute to friendship.

When/where

Sunday 08 October 2023 | 14:45 Southbank Centre | Royal Festival Hall

Sunday 15 October 2023 | 14:30 | Southbank Centre, Royal Festival Hall

The End We Start From

The teaser for THE END WE START FROM is here,

Mahalia Belo’s directorial debut is set to premiere at #TIFF23 on Sunday, 10th September.@SunnyMarch_, @HeraPicturesLDN, #C2MotionPictureGroup @bfi, @BBCFilm @MahaliaBelo pic.twitter.com/TdkXGSsaKf

— Anton (@AntonCorpLtd) September 10, 2023

Starring Jodie Comer and Benedict Cumberbatch, Mahalia Belo’s feature debut brings Megan Hunter’s acclaimed 2017 dystopian novel The End We Start From to the big screen in the ultimate disaster movie. Jodie Comer leads the cast as a young woman with her newborn baby who is struggling to find a safe haven in a crumbling, dangerous society as catastrophic floods submerge Britain.

When/where

Saturday 14 October 2023 | 11:30 | Southbank Centre, Royal Festival Hall

Friday 13 October 2023 | 18:00 | Southbank Centre, Royal Festival Hall

The Sacred Cave

When the King of Mabuna is poisoned, his nephew and son journey to a sacred cave where they believe a remedy can be found. While travelling, they encounter sorcerers, an attack by panther men and a bewitched toad princess – can they overcome these magical obstacles to save their King?

When/where

Sunday 15 October 2023 | 14:50 | BFI Southbank

Tiger Stripes

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However, as they delve deeper into their research, they encounter an ominous freestanding door which leads them on a dark journey through the dimensions behind it. Determined to uncover the truth the pair soon realise they have stumbled across something far more terrifying than they could have ever imagined…

We spoke to Hughes about his favourite found footage movies, finding a pyramid in Scotland (?!) and whether we’ll be seeing anymore multiverse adventures via freestanding doors…

How did everything begin for you with Hostile Dimensions?

I was developing a project with Blue Finch, the sales agents on Hostile Dimensions, and trying to get financing for that. Everything moves really slowly in film and I realised I could squeeze in another smaller film in between getting that bigger one off the ground.

So I thought I’d do something similar to my last film, Death of a Vlogger, keeping the mockumentary format, using the same cast and crew. Also because it’s so difficult with all the other producing skills going on and trying to make things as simple as possible, the key thing was that most of the film [could be] shot here in my flat!

So that was the jumping-off point but I also wanted it to be different from Death of a Vlogger. I was looking at ways to expand the idea so the idea of a portal to other worlds came into being and everything spiralled from there.

What’s the writing process like for you?

Usually it [starts with] a high-concept idea. I’ll think of something that’s just combining two things and then it’ll just sit in my brain for sometimes months or years. Until it grows enough to be an idea that’s worth taking down.

Then usually I’ll start with a spreadsheet. Just thinking out loud, writing down ideas that come to me. I’m more of a set-piece director than a story director. So usually I’ll write a list of scenes that I would want to see within this idea. I’m all about structure and I love structuring things and that’s kind of how it gets put together.

The pub helps as well – it loosens me up. I’m less critical. Then the next day when I sit down sober and look at the ideas I can throw out all the shite [haha]! I still have a full time job so going from sitting at a desk till five at home, then having dinner and coming back to the same desk to write is sometimes a bit intimidating. So getting the laptop and going somewhere makes it a bit more fun and appealing.

What are the positives and negatives of directing a found-footage mockumentary movie?

So a positive is I think that it’s a much more visceral and immediate kind of medium. I find that most of the scariest films I’ve ever seen are found footage. It’s just much more of an immediate connection with characters for me.

It’s also a massive win for low-budget productions. You don’t need to worry about coverage so much. For instance, if you’ve got a dialogue scene with two characters, usually you’d have three setups and you would need to get coverage from different angles. Whereas in fiction mockumentary, usually there’s only one camera in the scene.

That can be very useful for production but there can also be a lot of problems in the edit if your single setup isn’t particularly good. The genre has so many rules – you’ve probably seen some of the worst found-footage examples where cameras are always glitching. I don’t think I’ve ever recorded any video that has a glitch in it. Yet in so many bad found-footage films the cameras are glitchy and they use it to cover edits.

Obviously, I want to set the rules for myself where I want it to be realistic – it’s obviously a sci-fi film but the parts of the world that we will connect with, I want it to be realistic, I just want it for the audience. But that can cause some issues with production.

What are your favourite found-footage movies?

The Dirties is one of my favourite. And I like Lake Mungo, Hell House LLC, Savage Land…

I liked a few before making Death of a Vlogger but it was The Dirties that really opened my mind to the possibilities of it as an art form. After watching that, I just dived into the rabbit hole and started devouring everything I could get my hands on.

There are just so many – some of the best horror films ever made [are found-footage] like REC, Troll Hunter and Chronicle and some of the bigger ones like Cloverfield, there’s such a variety.

There are some stunning locations in the movie – what were they like to source those?

That was really fun. Because of the nature of how the film was made (being that it was low budget and the cast and crew were set and we had all these elements in place), there was quite a bit of flexibility with the other worlds and what they could be because as long as they fit the story then it was fine!

A lot of the time the only headline for our location would be that it needs to be kind of alien or interesting. The other restriction was the catchment area – we couldn’t really travel much more than three hours out of Glasgow, just for logistical reasons.

A lot of the sourcing was done on Atlas Obscura, just scrolling for ages looking for distant known locations that I’ve not seen on film and that people maybe aren’t aware of.

I think my favourite was the pyramid location. A few people already have been like ‘the effects of that pyramid are really good’. They’re so good because it’s real! It’s not an effect. It’s a real pyramid that’s in Scotland. When I saw it, I was like ‘Why has no one ever mentioned this before?’ [haha]!

What is your favourite world that Sam and Ash visit?

I think just in terms of location [the pyramid world] was a favourite because it was so surprising to me. I do like the soft play [world] as well. That initially came from a particular scene I wanted to do. A backroom kind of piece, like Kane Pixel’s short, Backrooms, [which] I absolutely loved. It got me into Liminal Horror on Instagram. I was just like, ‘oh, this is such a great horror idea’, like new lore.

I wanted to do something with that. So I was looking for white boxy locations and they’re really difficult to find.

So that led to just being on Liminal Horror Instagrams and they’d have abandoned swimming pools or swimming pools at night, schools at night, and soft plays as well.

Soft plays are pretty creepy. Inherently. And there’s loads of them around Glasgow so I just started getting in touch with folk and [soft play] Pandamonium wrote back and said they would let us film there.

Then weirdly enough, I’d always planned for the backroom scene to have a giant teddy bear in the corner. It was just a total coincidence that we booked Pandemonium and I saw that they had a big panda suit. It was one of those great, nice coincidences of an improvement to the film coming from something that was just a surprise and something I hadn’t planned for.

It’s much better than a brown bear in a backroom space. It’s a nice example of being flexible and letting your ideas go when something better comes in.

The ending leaves the movie open – would you ever be tempted to come back to the world(s) of Hostile Dimensions?

I don’t think so. I think there’s a very latent, if ambiguous, message in the film and I think exploring that world anymore might just dilute that.

What do you want audiences to take away from the movie?

The general state of the world has put me in a state of anxiety. It’s also put me in a feeling of helplessness and it’s breeding apathy in me. I think maybe on the sides of the political spectrum, most people don’t really have much control. For me, I feel almost like I just want to disengage and look after myself – I can’t help anything anyway, so I may as well just give up.

That was kind of where the central idea came from. I just wanted to explore and then I didn’t want to say one way or the other, which is better. I just wanted to explore these two characters. They’re both given the option of leaving this world and landing right into their perfect world.

If you were given that option, would you stay in this place and try and fix it? Or would you jump ship to the place where you fit? I don’t want to land on either side of that [but] I do want to just ask that question. And that’s something I’m still asking myself. Do I want to continue banging my head against the wall and fight for what I think is right? Or do I just keep my head down and look out for me? That’s the struggle that I was trying to get into the film, but I don’t want to tell anyone what to think.

Hostile Dimensions will have its world première on 26 August FrightFest 2023. Get your ticket here.

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The movie sees a small town shaken by a series of ominous killings in the days leading up to a heated mayoral election. As accusations fly and the threat of a masked killer darkens every street corner, the residents must race to uncover the truth before fear consumes the town.

We spoke to Erik Bloomquist about his love of slasher movies, taking on multiple filmmaking responsibilities and how the killer’s wig was the biggest diva on set…

Founders Day has taken around 10 years for you to make, is the version we see today the version you and your brother originally created?

It very much still is a love letter to formative slashers in autumn in New England but over the years, it’s evolved as our sensibilities sharpened and then a relatively recent infusion of this election that’s happening in the town.

There was a mayor, there was this crisis about what the town was going to do in terms of going forward with this festival after the first body turns up, but in terms of it being a hot-button election issue, that happened in the last year or two. We thought of that probably two years ago and everything just popped into place when that happened in terms of putting the commentary we want to make and raising the stakes and making characters more defined.

So it still very much has the same heartbeat that it’s always had. It’s now a fully formed version as it evolved, as we have evolved. I think the path for all the other movies that we’ve made has led us full circle here.

What were your slasher influences?

I would be remiss if I didn’t mention [Scream]. I mean, they’re huge for me. We watched it a little too young and we got it from the library on a winter afternoon.

We’re definitely different in the sense that we’re not referencing movies. I love how they do it. It’s perfect but Roger Jackson isn’t on the other end of the phone in our movie. I think what we really glean is this sense of mischief and play and curiosity and intrigue and puzzle, and having a degree of fun in the whole thing too.

We definitely want to scare people, but we also want it to be a bit of an adventure, like everything we make. We want it to be something that people watch maybe when they’re a little too young for it, but in a good way…

What do you think it is about Scream and those classic slashers that have resonated with people to create their own?

I think people, certainly me and Carson, love speculating and seeing all the different paths people are going to go down. We loved Choose Your Own Adventure books as a kid and I think it’s similar to that, where it could be anything and then seeing what it is and people having multiple identities, like metaphorical masks and when those metaphorical masks are off, it just feels like play in a really fun way.

Horror in general is just a really great way to have a community experience and an individual experience at the same time. That’s why I’m really drawn to the genre in general. But this one’s been a long time coming, so we are very excited to see it with a crowd.

Founders Day has a very unique mask – how did the idea for that come about?

It was really important to us. The idea originally was that it’s like a comedy/tragedy mask fused together so that on one side there’s a frown and then if you turn, he’s smiling. We wanted to make the look that was very, as Carson says “distinct but not gimmicky”. Which is very hard to do.

We thought about it a lot. We liked the idea of simple, tactical, and something that applied to judges’ robes and the mask had to feel worn but not necessarily old.

We worked with Tony Gardner’s company which was amazing and we decided to go red instead of white with the mask. Going red just felt really right to us both in terms of being distinct and in terms of camouflage and in terms of being a devil judge. There was just something about it. We wanted it to be simple but distinct and I’m very happy with how it came out.

There’s also a fun weapon – that was something that developed as we did the movie. So all these little touches will hopefully work together to create something that is very distinct for people and has a character of its own.

The slasher’s costume also comes with a wig… is this the first killer with their own wig?!

It might be! Yeah, because it’s usually the hood right? That wig was fun to shoot with and there are outtakes where we’re in the middle of a kill and the wig just falls off and then the person behind the mask would look at the camera and just shrug. So there was a lot of tape and adjusting. Probably in real life it would fall off a lot if someone was actually killing in that wig, but movie magic is good.

So the wigs were the biggest divas on set…?

Exactly. We had three of them. They’re in my closet right now. We have three masks and three wigs. Hopefully, we’ll be able to do some publicity stunts with them at some point but there won’t be quite as much violence so hopefully, that won’t be as much of an issue!

What’s the writing process like with you and your brother Carson?

It changes as we go. We write relatively chronologically, but sometimes we’ll work on a linchpin scene first and work backwards from there. Sometimes we’ll be in the same room and just pass a laptop back and forth. We refine all this work and at some point, we’ll have a draft and we’ll just go through it together and redline it and change it.

Then working very closely with the actors – I have a real acting background, I still act. I act in this movie and it informs the way I direct and change the script as we go, just to fit the voices of the characters. There are things that I think are really important that we try to keep in there – structurally and character-wise – but it’s really cool when we can have that marriage between voice and actor.

You directed, co-wrote, produced, edited and starred in Founders Day. What’s your favourite role in the filmmaking process?

For me, the most foundational part of it all is acting. I’ve been acting since I was little and that evolved into me directing and knowing how to work with actors and then writing my own stuff and then producing and learning how to do that out of necessity.

I really enjoy wearing multiple hats. I know it might be perceived as fatiguing to an extent but for me, in a lot of ways, it’s energising. Because if I’m in the middle of problem-solving a scene and can just jump in and act for a second, I get to act on instinct and then I get to look at the monitor and make sure the shot looks right.

It’s a really fun way to make sure that I’m staying fresh. I find that when I’m acting within a scene that I’m also directing and I can set a tempo or tone from within the scene. Then Carson’s behind the monitor just making sure I’m not making weird faces!

Was it always planned for you to star in Founders Day? Was the character written for you?

He was a relatively new character actually, as it became an election movie we just figured that [mayor] Blair Gladwell needed a right-hand man. It made sense for me because we have these two ensembles – we have the high school ensemble and we have the adult ensemble. And deputy Miller played by Adam Weppler and I kind of bridge those two and live in both of those generations just to unite the town.

It was important to us to establish that everybody in this town kind of knows of each other. Has an opinion about each other. I think that the fact that we are both adults in the town but also still kind of the younger generation is a way to just establish scope and intimacy at the same time. I just thought that’d be really fun to do.

How would you describe the movie’s main protagonist, Allison?

I think that she is somebody who in some ways feels bigger than this town but is also tied to this town and is a very loyal person. And I think that that makes for a really interesting person to follow – there is a loyalty to this place, to her dad, to her girlfriend, to her teacher, to her school, and that really makes her believably want to figure out what’s actually happening, even though she’s on the route out of there.

What was it like having Naomi Grace, who plays her, on board?

Naomi is wonderful. She brought a real goodness and enthusiasm in front and behind the camera. She made it happen in a really engaging way and she was just so lovely to work with. I know she’s so excited – she is going to be in London and I am very excited to have her see it!

The movie has lots of great kills! Do you have a favourite?

They were so fun to do, and I wish we had even more time to do them. But I’m really happy that we were able to do as many pieces as we did.

There is one in particular that is pretty theatrical, almost choreographed to music and that one I’m particularly excited to see. There are kills in the movie that I didn’t think would necessarily jump out as the first piece of the conversation and I love that everyone’s going to have their own.

Some are fun and some are particularly brutal. But I like that they’re all character driven to an extent. That they feel distinct not just because of how they happen but because of who they’re happening to and when they’re happening and I can speak more about that if you catch me after FrightFest!

I’m just very excited to see those and I’m glad we got the amount of blood that we were able to get. I mean it’s not it’s Terrifier, but there’s blood!

What do you want audiences to take away from the movie?

I’m excited for people to have the conversation about ‘who did you think it was? And when did that change and why?’ I’m excited for me to hear that, just to overhear those side conversations.

Ultimately [I want] for people to be energised and to continue to think about things. We don’t want to be preachy, but we do want to be outspoken. I think the ultimate feeling we want people to take away is that it was fun and thoughtful and ultimately has a little bit of bite beyond when the final credits are over…

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