3 pieces
Chris Nash's debut takes the slasher apart from the killer's point of view, and the radical formal choice is also the reason the film divides its audience. I want to argue for it.
Damian McCarthy's second feature is the best pure-horror indie of 2024, and the clearest argument going for what micro-budget Irish genre cinema can do when it commits to a single effect and doesn't blink.
Adam Elliot's second stop-motion feature took eight years to make and collected festival prizes from Annecy to Annapurna. The Australian argument is that his particular strain of misery-claymation is one of the country's more unusual exports.