In February 2020, Folxlore bursts onto the podcast scene in sensational fashion winning three Audio Verse Awards including Best New Storytelling Production, and featuring as one of only two independent fiction podcasts in The Atlantic’s 50 Best Podcasts of the year. Three years on and the puzzlebox of audio horror by queers, for queers launched its final season on March 5th 2023 with Episode 1, “Stuck”.
“‘Stuck’ is a poetic exploration of my own anxieties around being an immigrant. The pressure of having to prove your worth, your permanency, is deeply unsettling, especially as a queer, trans human. Juniper metaphorically and physically feels the walls closing in, because I wanted to show the claustrophobia and violence that borders create in our lives.” - Bibi June, producer on Folxlore and writer of ‘Stuck’
Folxlore has depicted, subverted, or in other ways dealt with queer fears from passing in public to parenthood, paranoia to private landlords,...
“‘Stuck’ is a poetic exploration of my own anxieties around being an immigrant. The pressure of having to prove your worth, your permanency, is deeply unsettling, especially as a queer, trans human. Juniper metaphorically and physically feels the walls closing in, because I wanted to show the claustrophobia and violence that borders create in our lives.” - Bibi June, producer on Folxlore and writer of ‘Stuck’
Folxlore has depicted, subverted, or in other ways dealt with queer fears from passing in public to parenthood, paranoia to private landlords,...
- 3/5/2023
- Podnews.net
For many, a hospital visit is an exhausting house of horrors and bodily function humiliation, a prison on the road to wellness, where consent is as much implied as it is expected. Imagine your choices, and your suffering, at being intubated and left in helpless limbo in the current state of limited resources in our current pandemic. Seth A Smith’s third feature, Tin Can, is that nightmare in all its weird, wet, claustrophobic glory. The film is bathed in septic ambers, reds, and half-glimpsed damp metallic surfaces, and shot in a tight squarish aspect ratio that is commensurate with its heroine's titular confinement. It trafficks in imagery of bundled tubes and intrusive medical girdles, extreme close-ups of a woman trapped in a medical...
[Read the whole post on screenanarchy.com...]...
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- 8/10/2022
- Screen Anarchy
This week’s new horror offerings are led by Two recent A24 movies that are getting wider releases at home and in theaters, and Netflix is back with some original horror of their own.
In total, we’re getting Six brand new horror movies this week!
Here’s everything headed our way between August 9-August 14, 2022.
First up, A24 and director Alex Garland‘s new horror movie Men is now available on Blu-ray and Digital as of today, August 9th, the film released in theaters back in May of this year.
Meagan Navarro wrote in her Men review for Bloody Disgusting, “Alex Garland’s adherence to the abstract will be divisive, but those that don’t mind enigmatic descents into surrealistic, gruesome horror will find this a trip worth taking.” She also notes that the latest A24 horror film “bides its time with a measured unsettling until an insane, unforgettable third act.
In total, we’re getting Six brand new horror movies this week!
Here’s everything headed our way between August 9-August 14, 2022.
First up, A24 and director Alex Garland‘s new horror movie Men is now available on Blu-ray and Digital as of today, August 9th, the film released in theaters back in May of this year.
Meagan Navarro wrote in her Men review for Bloody Disgusting, “Alex Garland’s adherence to the abstract will be divisive, but those that don’t mind enigmatic descents into surrealistic, gruesome horror will find this a trip worth taking.” She also notes that the latest A24 horror film “bides its time with a measured unsettling until an insane, unforgettable third act.
- 8/9/2022
- by John Squires
- bloody-disgusting.com
I am cognizant of the fact that it might take you longer to read this review than to watch the one hundred and twenty seconds of this animated short involving chickens searching for scratch, and philosophizing on the circle of life. Taking place in an overgrown cemetery, and featuring Smith's mystical-sonic score, combined with fowl subtitles, and clucks, on the purpose of existence, particularly at life's end, the film is not so much morbid, as it is charming. It flirts with celebratory. That the rooster, Lennart, who served as a model for the animation, has since passed, it begs the question: Who ate him? Atlantic Canada's Seth A. Smith has made three icky, sticky, but thoughtful, art-horror features that centre...
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- 9/13/2021
- Screen Anarchy
Seth A. Smith's new film, the sci-fi thriller Tin Can, has been acquired by local distributor levelFILM for Canadian distribution in early 2022. Our own Kurt Halfyard saw Tin Can at Fantasia. He liked it so much that he went as far as to draw comparisons with noteble contributions to Canadian and international genre cinema. In Tin Can, the experience is of a piece with classic David Cronenberg joint: Body Horror fused with social anxiety. As Videodrome amplified the pearl-clutching fear of late night violence & sex on the Canadian television of the eighties into bizarro TV snuff network, and shadowy mind control of its protagonist, so does Tin Can take the anxieties of medical procedures and experimental vaccines in our current age,...
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- 8/20/2021
- Screen Anarchy
After making its North American Premiere in the Fantasia Film Festival’s Camera Lucida sidebar, Seth A. Smith’s dystopian sci-fi thriller “Tin Can” was picked up by Canada’s levelFILM for domestic distribution.
In the film, a new fungal disease called Coral is spreading rapidly across the planet. Parasitologist Fret is working on a possible treatment when she is attacked outside her workplace, waking up an unspecific amount of time later in a claustrophobic life prolonging cryochamber. Not knowing where she is, how she got there or why, Fret fights to escape the confines of her cell, learning that there are others from her past similarly confined in nearby chambers of their own.
Nova Scotia-based Cut/Off/Tail Pictures, producers of Smith’s previous award-winning feature “The Crescent,” also backed “Tin Can,” a Panorama Audience Award finalist at Sitges 2020. Smith teamed once again with long-time colleague Darcy Spidle on the screenplay...
In the film, a new fungal disease called Coral is spreading rapidly across the planet. Parasitologist Fret is working on a possible treatment when she is attacked outside her workplace, waking up an unspecific amount of time later in a claustrophobic life prolonging cryochamber. Not knowing where she is, how she got there or why, Fret fights to escape the confines of her cell, learning that there are others from her past similarly confined in nearby chambers of their own.
Nova Scotia-based Cut/Off/Tail Pictures, producers of Smith’s previous award-winning feature “The Crescent,” also backed “Tin Can,” a Panorama Audience Award finalist at Sitges 2020. Smith teamed once again with long-time colleague Darcy Spidle on the screenplay...
- 8/19/2021
- by Jamie Lang
- Variety Film + TV
Tin Can Review — Tin Can (2020) Film Review from the 25th Annual Fantasia International Film Festival, a movie directed by Seth A. Smith, starring Anna Hopkins, Simon Mutabazi, Michael Ironside, Amy Trefry, Chik White, Taylor Olson, and Shelley Thompson. Jeez, between the Cronenberg boys, Panos Cosmatos, and Seth A. Smith, [...]
Continue reading: Film Review: Tin Can: Existential Body Horror of the Claustrophobic Kind [Fantasia 2021]...
Continue reading: Film Review: Tin Can: Existential Body Horror of the Claustrophobic Kind [Fantasia 2021]...
- 8/17/2021
- by Jacob Mouradian
- Film-Book
For many, a hospital visit is an exhausting house of horrors and bodily function humiliation, a prison on the road to wellness, where consent is as much implied as it is expected. Imagine your choices, and your suffering, at being intubated and left in helpless limbo in the current state of limited resources in our current pandemic. Seth A Smith’s third feature, Tin Can, is that nightmare in all its weird, wet, claustrophobic glory. The film is bathed in septic ambers, reds, and half-glimpsed damp metallic surfaces, and shot in a tight squarish aspect ratio that is commensurate with its heroine's titular confinement. It trafficks in imagery of bundled tubes and intrusive medical girdles, extreme close-ups of a woman trapped in a medical...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/10/2021
- Screen Anarchy
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