Both are available in the FanFactory store. Deadly jokes AND Don’t speak evil are two new games added by Plaion Pictures to the Midnight Factory series. Thus, the two horror films are released in limited edition on Blu-ray and are accompanied by a booklet included in the package. The first is from the USA, the second is a joint production of Denmark and the Netherlands.
Deadly Pranks (2018)
Director’s first feature film Jude Cremataoriginal name Let’s run away Julie derived from Let’s scare Jessica to death. Film signed in 1971 John D. Hancock and known in Italy as Death Races Around Jessica. Movies it has nothing to do with Deadly jokes, which begins with one of the most classic slasher movie situations. Or the girl played by Taylor Isabelle Maywho invites her closest friends to the house to spend a fun evening. A girl who also has two cousins: Emma and little Lily, with faces Troy Leigh-Anne Johnson AND Dakota Pods. And it is Emma Taylor and three of her peers who decide to scare in order to move the situation forward. The mysterious story of a neighbor that no one has ever seen emerges. A neighbor who appeared to be interested in the occult and whose son appears to have died at home.
The fact that makes them go and joke right in the house, without imagining the dangerous consequences.
And if, as the characters of young heroes define, there is an abundance of hand-held cameras, the reason is soon explained. In fact, over twenty hours of the vision were filmed in real time with one long shot. Although someone claims that it has properly disguised cuts. So, with an almost complete lack of interiors and the tension that will build as the disappearances begin, we are faced with a POV. The point of view, which, however, in contrast to the famous proto-The Blair Witch Project, does not intend to look like a fake documentary. After all, the fact that history in images is fiction, in this case, is stated from the very beginning. The choice of this technique is aimed at enhancing the tense atmosphere of the thriller and emphasizing the feeling of claustrophobia and horror. Avoiding bloodshed while reflecting on the bullying and surface generation of the early third millennium, who grew up addicted to social networks. Italian trailer in the additional section of the disc.
Don’t Speak Evil (2022)
Accompanied by an Italian trailer and about nineteen minutes of commercials with special content, we immediately clarify that we are dealing with an operation carried out during the period of Covid-19. During the pandemic, seven weeks of filming stretched into twelve months. The starting point is very simple: on a holiday in Tuscany, a Danish family with a young daughter in tow meets a Dutch family. Even the latter has offspring: a child who does not speak because he seems to be suffering from an underdevelopment of speech. A few months later, the latter invite the former to spend the weekend in the countryside. Therefore, the director Christian Tafdrup – in fact, more active as an actor – causes internal tension, primarily because of the strange manners of portraying the head of the Dutch family. householder incarnated Feja van Huet and on which side do we find Karina Smulders.
While Morten Burian and Sidsel Siem Koch play the roles of two guests who are destined to find themselves shrouded in an almost Polanskian atmosphere of paranoia.
A climate, if you will, that places everything, in a certain sense, in an area that is talked about so much. Funny Games From Michael Haneke. The atmosphere, even more emphasized by the music, is often able to “invade” the images, as if hinting at a disturbing omen. Because it is the strong feeling of unease that characterizes the long wait on which it is built. Don’t speak evil. A long wait, immersed in a gloomy atmosphere and the purpose of which is to anticipate the final explosion of madness. The explosion of madness was not without disturbing violence, and which in the end also leaves no hope. First of all because, going beyond the genre, this is an elaborate study of human behavior and comparison between the different Scandinavian peoples it deals with. An intricate spectacle in which it is the absence of the supernatural element that makes this far from reassuring and comforting spectacle even more depressing. So much so that, having reached the final credits, it is easy to think that reality is not far from what Tafdrup tells in the frames.