Grimmfest, Manchester’s International Festival of Fantastic Film, are delighted to announce their full feature film lineup for 2023. The festival will be returning to regular venue the Odeon Great Northern in Manchester on 6th – 8th October to showcase the best in genre cinema.
Never screened outside of Japan, and believed lost for nearly 30 years, Banmei Takahashi’s 1988 classic, DOOR, combines deadpan domestic comedy, chilling stalker thriller and baroquely bloody home invasion horror. It finally had its international premiere at BIFAN in South Korea in July, and Grimmfest are delighted to be hosting the first UK screening.
Kenichi Ugana’s LOVE WILL TEAR US APART encompasses dark and deadly romance, satiric slasher movie, psychological thriller and even some martial arts mayhem. Grimmfest is delighted to be hosting the UK premiere in Manchester, birthplace of Joy Division, whose music inspired the film’s title.
Mikhail Red’s Filipino psychological thriller DELETER (UK premiere) follows an overworked, emotionally and morally detached internet content moderator, haunted by her own repressed memories, and by the suicide of a co-worker, who starts to fear she is being by something more supernatural.
OBJECTION / GIVE ME AN A (UK premiere) responds to the recent overturning of Roe v Wade in the US. Conceived and co-ordinated by Natasha Halevi, it comprises 16 short pieces in which various female filmmakers and writers react to this assault on their rights.
Loosely inspired by Jenna Kanell’s own experiences of abuse and harassment following her appearance in the first TERRIFIER film, Raymond Wood’s FACELESS AFTER DARK (regional premiere), co-written by Kanell, deftly balances splatter, satire, vicarious vengeance and metacinematic mischief to offer a pointed critique of some of the more questionable aspects of the horror genre.
In Nicholas Tomnay’s WHAT YOU WISH FOR (regional premiere), Nick Stahl plays a man who, fleeing gambling debts, assumes the identity of a dead friend, only to realise that he has, quite literally, bitten off more than he can chew.
Gerry Anderson meets Philip K. Dick in Evan Marlowe’s ABRUPTIO (English premiere). Entirely enacted by lifelike latex puppets, it features human bombs, social collapse and an alien invasion.
Miguel Azurmendi’s debut feature, KERATYNA (UK premiere) offers a surreal spin on REAR WINDOW for the age of the internet incel – a slow-burning psychological thriller invoking David Icke-style conspiracy theories.
EVIL EYE (regional premiere) sees Mexican maestro Isaac Ezban (THE SIMILARS, THE INCIDENT) moving away from the Twilight Zone sci-fi strangeness of his previous films and into full-blooded Latin American Gothic. Two young sisters are sent to stay with their sinister grandmother, who, they gradually start to suspect, might be a witch.
A search for her own murky origins as a product of the infamous “Lebensborn” Project leads a young nurse into a confrontation with Nazi Eugenics, Nordic-Teutonic folklore, and witchcraft, in Marie Alice Wolfszahn’s MOTHER SUPERIOR (English premiere), a subversively female-focused repurposing of classic 1970s-style Euro-horror tropes.
Tamae Garateguy’s AUXILIO (UK premiere) puts a spin on the notorious nunsploitation subgenre, conjuring vengeful ghosts, religious hypocrisy, political intrigues and family guilt. Jenn Wexler’s THE SACRIFICE GAME (regional premiere) reinvents several classic genre tropes: home-invading Satanist psychos, sinister girls’ boarding schools, and alienated, victimised teens with dark secrets.
Quarxx’s PANDEMONIUM (regional premiere) presents an existential nightmare journey into the various hells of other people, drawing on cinematic and literary references ranging from Sartre to Angela Carter and Lovecraft to Lars Von Trier.
In Caya Casas’ THE COFFEE TABLE (UK premiere), a hapless husband’s desire to assert himself against his overbearing wife by buying a singularly hideous table unleashes a nightmarish chain of events that will destroy not only the couple themselves, but all of those around them. This is a film that will shake even the most hardened of genre fans.
In Travis Greene’s 8 FOUND DEAD (UK premiere), various characters find themselves unexpectedly double-booked at their AirBnB accommodation and facing an uncomfortable night with a decidedly sinister elderly couple, across three separate timelines.
Acting co-director Leonie Rowland says: “The horror we are showcasing this year is interior, intelligent, engaged and explosive. It delights in the genre as much as it bends and redefines it. We are so proud of our 2023 lineup and so excited to share it with you all.”
The full screening schedule, along with details of the shorts programmes, festival guests and other events, will be released soon.
Full festival passes are available now at:
Manchester’s International Festival of Fantastic Film. Grimmfest bring the very best in new independent genre cinema and classic genre films to Manchester UK and beyond, with regular screenings throughout the year and the main festival in early October. Grimmfest is now in its fifteenth year and was recently invited to join the Méliès International Festivals Federation, becoming its second British and first English member.
F RATING: Grimmfest subscribes to the “F Rating” system, designed to highlight women on screen and behind the camera, and developed at Bath Film Festival in 2014. The F-Rating is awarded to films directed and/or written by women. If the film also has a female lead, the film is Triple F-Rated.