rosebush pruning

ROSEBUSH PRUNING seeps from every pore, producing torrents of hot and icy sweat; delivering a frontal assault on the senses – provocative and opulent, and featuring a stellar cast (Pamela Anderson, Jamie Bell, Elle Fanning, Riley Keough, and maybe-future Bond Callum Turner). Karim Aïnouz stages his drama as a modern satire: a feast of malice that cuts straight to the bone – ecstatic and wildly lashing out.

mag mag

Ghost girl Mag Mag is on the loose and hunting men! Every man she falls in love with meets a gruesome death. And Mag Mag gives her heart away very easily. Comedian Yuriyan Retriever proves once again: no nation masters the ghost genre like Japan! MAG MAG delivers a witty, cleverly interwoven story full of unpredictable twists. Here, fear pours in torrents.

good boy

– wir wollen nur dein bestes

After a club night, 19-year-old Tommy, known for his brutal online videos, collapses in the street. The next morning he wakes up in the cellar of an apparently ordinary middle-class family: father Chris (Stephen Graham), his wife Katherine (Andrea Riseborough), and their son Jonathan. Jan Komasa’s (SUICIDE ROOM, CORPUS CHRISTI) hard-hitting thriller has been compared by “The Guardian” to A CLOCKWORK ORANGE.

feels like home

The shoe brand Liberta promises “Freedom. Comfort. No limits.” Not for Rita: her shoe store is bankrupt. To make matters worse, she is abducted in the open street by strangers and locked in a chamber. They claim to know her and insist they are her family, whom she ran away from. The debut feature by Hungarian director Gábor Holtai unfolds as a vicious psychological game with unforeseeable conse- quences.

appofeniacs

One click, and your life is ruined: with a new app, a perfectly realistic deepfake video of absolutely anyone can be created within seconds and spread across the internet. In Duke’s hands, it becomes a merciless weapon against anyone he hates, setting off a fatal chain reaction of paranoia and violence. Starring a brilliant Sean Gunn (THE SUICIDE SQUAD)!

silence

Vampire horror is far from exhausted. Spain’s enfant terrible, director Eduardo Casanova injects fresh blood into one of the genre’s oldest myths, mixing it with cinematic madness and a strong dose of queerness while keeping the story close to the spirit of each depicted era. Biting humor, colorful opulence, and classic Gothic flair make SILENCE a female spin on WHAT WE DO IN THE SHADOWS.

Beforehand we will show three short films by the director.

imposters

Strange things begin to happen in the village where Marie and Paul have just moved. One day their baby Theo suddenly vanishes without a trace during a big party. Marie is willing to do anything to get him back, but is what she soon brings home from a mysterious cave truly her son? IMPOSTERS delivers an incredibly clever mystery that explores profound questions of fate and free will.

mārama

In the mid-19th century, the young Māori Mary travels from New Zealand to England to investigate the fate of her family. Shortly after her arrival, she is tormented by bloody visions of violent events. With his feature debut MĀRAMA, director and screenwriter Taratoa Stappard weaves together England’s colonial history and New Zealand’s Māori culture into a chilling tale deeply rooted in Gothic horror.

dust bunny

Rod Blackhurst delivers one of the most brutal genre films of the year: DOLLY is a grimy, blood-soaked homage to 1970s US grindhouse cinema, paired with the nihilistic coldness of early-2000s French extreme horror. Definitely humourless. But nostalgically shot on gritty 16mm film – and featuring Seann William Scott (“Stifler” from AMERICAN PIE), who proves he can truly suffer.

A dark fairytale for adults, told from the perspective of a ten-year-old – with Mads Mikkelsen as a sword-wielding hitman fighting against Triad gangs, and Sigourney Weaver as his tough-as-nails boss. After acclaimed series such as HANNIBAL, Bryan Fuller now enchants with an exuberant feature debut that recalls the stories of Roald Dahl and the fantastic worlds of Joe Dante and Jim Henson.

every heavy thing

A brutal serial killer is on the loose in Hightown City, but the city chooses to look the other way: after all, it hopes to become the next Silicon Valley. Ad salesman Joe would also prefer to ignore the case – but that’s hard to do with the blood of the latest victim on his face. When the killer threatens to murder him if he talks, and Joe’s new colleague at the newspaper starts digging into the story, he finds himself increasingly cornered. Even more so when the killer’s voice starts drilling into his mind… and even slips into his dreams.

Prolific filmmaker Mickey Reece’s latest work breaks boundaries and unites opposites: a wild, utterly unpredictable thriller that shifts between grimy 1980s aesthetics and psychedelic sequences of light and color. EVERY HEAVY THING is a hybrid of analog surrealism and broken digital aesthetics. A neon-cold paranoia trip that pulls you in – not least thanks to its synth-heavy score and Barbara Crampton as a seductive nightclub singer. Uniquely insane.