Summary: Traumatised by a series of losses in her life the recently divorced Caroline (Lanna Olsson) finds herself suddenly living in a strange apartment alienated from everything she once took for granted. Surrounded by peculiar neighbours and with disturbing, inexplicable events increasing in frequency, Caroline struggles to make sense of her new circumstances. Is her mental illness getting the best of her? Is she just struggling to adapt to living alone? Or is there something more sinister at hand?
Australian Cinema Release Date: TBA
Australian DVD Release Date: TBA
Director: Christian Hallman
Screenwriter: Christian Hallman, Mans F.G. Tunberg
Cast: Norah Andeson (My Jansson), Karin Bertling (Vera Brandt), Boel Larsson (Elsa Ullman), Harald Leander (Frank Mandel), Alida Morberg (Emma Trelkovski), Lanna Olsson (Caroline Menard), Rafael Pettersson (Johan Steiner), Linnea Pihl (The Girl)
Runtime: 81 mins
OUR SENSORIA REVIEWS & RATINGS:
The Scandinavian film industry has delivered some brilliantly hard edged movies over the past few years – The Girl With The Dragon Tattoo and Let The Right One In spring straight to mind – and now horror fans are about to start raving about the release of a brand new film from Sweden with Sensoria certainly deserving to be described as one of the horror films of the years.
Directed by first time feature film director Christian Hallman (who is mainly known for his involvement with several film festivals across Europe) Sensoria is the kind of film that keeps you guessing while you are watching it and then stays with you for a long time after the final credits have rolled. Hallman sets up so many David Lynch like characters in the apartment building that when things first start happening to Caroline you can’t help but wonder is it the strange bossy lady, the blind man who quickly learns way too much about Caroline or the creepy Steiner who has date-rapist written all over him. About the last thing you actually expect is the twist that Hallman delivers, a twist that is so good that Sensoria deserves to be put into the truly memorable horror films category.
Sensoria really does show that Christian Hallman is a director to watch over the years. While many carry on about the fact that films like The Conjuring or Insidious have you on the edge of your seat, the weak amount of suspense that those films generate is nothing compared to what Hallman manages to create with Sensoria. Even better is the fact that he manages to do it without falling into that whole found-footage genre or having to rely on blood and gore to do what he wants to do… and that is send some chills down the spine of the audience.
Teaming up with Hallman here is cinematographer Janssen Herr who also helps give Sensoria the look and feel that makes it so special. Very few filmmaking teams in the world can make a simple thing like water dripping from a tap so eerie, but that is something that these two manage eerily well. Together Hallman and Herr actually make the apartment building a character in itself and at times you are left wondering whether it is the actual building that is the horror that is taunting Caroline.
Sensoria also allows some acting talent to burst onto the scenes as well. Lanna Olsson really reveals herself as an actress with great range as she plays the traumatised Caroline very well. Whether it be a suspenseful moment in a bath tub, a freaky encounter with a neighbour or even a dramatic scene in which she pours her heartache out to her best friend Olsson’s range allows her to never fall below par. She is also well supported by child actress, Norah Anderson who writes herself into horror film folklore and steals a lot of the scenes that she is performing in.
While it may have flown under the radar for many horror fans Sensoria is a film that needs to be checked out. Christian Hallman reveals himself as a horror director with a big future ahead of him while the films mash of Scandinavian horror and J-horror creepiness makes it a complete stand-out.
Average Subculture Rating (out of 5):
Other Subculture Entertainment Love 3D reviews: You can listen to our full Love 3D review on a future episode of The Good The Bad The Ugly Film Show.
In this edition of the Monster Fest Official Podcast we take a look at what is happening on Day Two of Monster Fest, yes it’s a good day to take a sick day and go to Monster Fest… you know you want to,
You can listen to or download the Monster Fest Official Podcast right here.
It’s film festivals galore in Melbourne this week and one of those festivals is the Made In Melbourne Film Festival. Dave Griffiths sat down with Festival Director Ivan Malekin to find out what people can expect at this year’s festival.
You can listen to or download our Made In Melbourne Film Festival interview right here.
The Good The Bad The Ugly Film Show’s Dave Griffiths this afternoon sat down with the cast + crew of brand new Aussie horror Scare Campaign. Take a listen as Dave chats to Colin Cairnes, Cameron Cairnes, Ian Meadows and Josh Quong Tart.
You can listen to or download our Scare Campaign interviews right here.
With Howl about to screen at Monster Fest Subculture Entertainment’s Dave Griffiths delivers his Paul Hyett interview.
Firstly Paul thank you so much agreeing to do this interview.
1. The idea of a full moon and passengers getting attacked that night on a train is very, very unique… can you tell us how the writers first came up with the concept?
The story came from the writers having actually been on a train, travelling late at night on the last train out of London, also being packed out with a whole bunch of annoying passengers, the teen obnoxious teen, the drunk football fan etc, and they thought, what could happen now to the journey even worse? An attack from werewolves!! So they went with that concept of passengers trapped on a train, and it developed from there.
2. What were your thoughts when you first read the script and what drew you to the project?
Funnily enough it wasn’t the creature stuff, but more the characters being trapped on a train and how they all react and deal with the extremely tense situation. I saw it as a throwback to the old 70′s disaster movies (which I’m a big fan of), like Earthquake, the Posiedon adventure, The Towering Inferno. The werewolf aspect was actually secondary to that, but a fun thing nevertheless.
3. Tell us about the amazing cast you were able to put together for Howl? You’d also previously worked with Rosie, why did you feel she was perfect for Howl and what is it like working with an actress a second time around
I was very lucky to get such a great cast, Sean Pertwee, Rosie Day, Shauna Macdonald I knew and had worked with before. And they genuinely liked the script. Sean was about to go off Gotham so was just able to squeeze us in. Rosie is great to work with, as soon as I read the script I called Rosie and said I had a part for her and her first question was ‘do I get to speak this time?’ And I said ‘yes, a lot’, and the idea of an annoying teenager appealed to her. And working with her a second time was even better as we know each other so well, and she’s a lovely energy to have on set and at the sand time very professional.
4. There’s a very big change to the werewolf mythology in Howl, can you tell us about how you have re-created it and why you made that decision.
I felt I wanted to bring Howl as a werewolf movie, to a more contemporary feel. Rather then the romanticised fantasy elements, I wanted to strip that out, no silver bullets and instant transformations, just feral hybrid human werewolves, that love in the woods and infect people with a bite, that they slowly transform into werewolves over years via a virus in the blood that will take years to transform.
5. Some horror directors we have spoken to previously have said they have been a little scared off by making a werewolf film since the ‘tame’ werewolves in Twilight, was that something that worried you with Howl?
I think that wasn’t a worry as there was no studio pressure to make it a certain way, the producers certainly didn’t want a tame twilight style werewolf movie, and especially in my head it was just to make a cool retro style 70′s disaster movie with werewolves, I suppose it didn’t occur to me as I didn’t see Howl as a werewolf movie per se.
6. Paul, you have a background in special effects how did that help with your role as director on Howl? Also what sparked your change from special effects and make-up to wanting to direct? Was directing something you had always wanted to do?
When I got into make up effects I had an absolute love for horror movies and creatures and I had been painting and sculpting since I was young so at first it was the love of the craft of make up effects that appealed, it was later on that the urge to direct came into play, I had learned over 70+ films, hod to direct, and it came from a frustration on not only wanting to tell my own stories with my own vision but also with seeing a lot of bad directors getting these big breaks and not really having a vision and I spent a lot of time supplementing their vision, so there was a point where I just had to direct!
7. Tell us a little about the shoot for Howl… what was it like? I believe it was mainly filmed in one warehouse?
It was a 5 week shoot in a huge warehouse, mostly on a train set with a greenscreen and we digitally created the sky and background. We originally thought about shooting on a real train, but it quicker turned that it wasn’t logistically possibly so as opted for the green screen, actually ended up giving us a lot of control rather then restriction, and building the interior of the train meant we could design it in a way that have us the space inside the train to have a cast of 9 people and 7 foot werewolves and a camera crew!
8. Your last movie The Seasoning House was also a horror can you tell us why you love directing horror so much and when did you first fall in love with horror as a genre?
I love horror as you really get to take people into emotional and physical emotional places that don’t (thankfully) happen to most of us in real life. We get to see and experience truely terrifying and exciting experiences, and we get to create movies and can thrill people and for me, it’s the buzz of creating a story that hopefully people can really enjoy. There’s nothing better then watching your movie get a good audience reaction.
9. What are some of your favourite horror films of all time.
Oh god, where do I start, I love John Carpenters The Thing, anything by Carpenter, all the 80′s horror movies and anything by Guilkermo del toro, especially Pans Labyrinth. And Martyrs, Frontiers, Inside, all great French horror movies.
10. Howl is about to screen at Monster Fest, Australia’s premiere horror film festival, how does that make you feel and what would you like to say to all the Aussies out there before they head in to see your film?
I am soo happy for Howl to be playing at Monster Fest, and wish I could be there to greet all the Aussies and hang out and chat with them, and a big thank you for coming to watch Howl.
Paul thank you so much for your time.
Thank you for the fun questions and a pleasure to be playing at Monster Fest
Yes by now you will know that one of the special guests at Monster Fest 2015 is Fred ‘The Hammer’ Williamson. In this edition of the Monster Fest Official Podcast we chat to Fred about his most memorable roles and what he is looking forward to doing at Monster Fest.
You can listen to or download the Monster Fest Official Podcast right here.