Daring, unconventional, cutting-edge cinema is returning to Melbourne and Sydney with the 2023 edition of the Fantastic Film Festival Australia (FFFA). Running from April 14-30, FFFA has a panoramic celebration of new and provocative films locked in place for the more courageous filmgoer.
With a line-up of 27 features, the Festival is offering its biggest program yet. From animated cowboys to queer magical realism, s**t-stained deathtraps to outback horrors, this year's program of often weird, occasionally wonderful screening options will unfold alongside Q&A panels, live performances, a scratch-and-sniff movie experience, music video blind dates, and the bold and bawdy ‘nude session’.
According to Festival Director, Hudson Sowada, "This year's program pushes the limits of storytelling and challenges conventional notions of reality. We're excited to showcase such an eclectic range of films, and we encourage audiences to take risks and embrace the strange."
Opening Night honours go to writer/director Nida Manzoor’s Polite Society, a distinctive genre mash-up that premiered earlier this year at Sundance Film Festival. The crowd pleasing film follows Ria Khan (Priya Kansara, in a star-making performance), a martial artist-in-training on a mission to save her sister Lena from an arranged marriage.
International features set for Australian Premieres include the biggest grossing film in Belgium last year, Zillion (pictured, above), chronicling the odyssey undertaken by a computer genius who creates the biggest discotheque in the world; Holy Shit!, a gross-out comedy and survival thriller set entirely in a Portaloo packed with explosives; and, the latest in the Evil Dead franchise, Evil Dead Rise, which will unfurl at a midnight showing.
Australian films in the 2023 line include The Survival of Kindness, an allegorical journey across a plague-ravaged wilderness by legendary filmmaker Rolf de Heer, who will be in attendance for a Q&A at the first Sydney screening; Sam Curtain’s Beaten to Death, a savage cat-and-mouse game set in remote Tasmania; Blur, a Giallo-style psycho-horror with supernatural mystery and ghastly practical effects from filmmaker Andrew Miles Broughton; and, Zac Cooper’s The End of History, which follows Australian techno producers Darcy and Pat's pursuit of creative greatness in changing and challenging Berlin.
Venturing beyond the traditional cinema experience is the world's first scratch and sniff session, called Teenage Mutant Ninja Turtles Stink-O-Vision. Audiences are taken on a olfactory journey through the sewers of New York City, accompanied by a menu of bespoke scents; simply scratch the corresponding number on the scent card when the icon flashes on screen. The other key retro screening on the roster is Audition, cult director Takashi Miike's 1999 classic starring the unforgettable frightening Eihi Shiina (pictured, right).
And while details are remaining understandably vague, FFFA is rumoured to be screening a work, direct from its Toronto Film Festival premiere, that is so courted in controversy it can’t even be named in the program. This secret presentation of what FFFA is calling ‘An Untitled and Perfectly-Legal Coming-Of-Age Parody Film’ will give audiences a rare chance to be among the few people in the world to watch this film. The director will be joining for a series of in-person Q&As.
Closing the Festival in showstopping style is the modern exploitation film LION-GIRL, a post-apocalyptic sci-fi film about the last defender of humanity against the ANOROC, a new species that emerged after a tsunami of meteors. Featuring character design by the legendary Manga artist Go Nagai, the film promises an outrageous and unhinged story, along with practical effects and gratuitous nudity.
FANTASTIC FILM FESTIVAL AUSTRALIA runs Friday, 14 April to Sunday 30 April 2023 at the Lido Cinemas, Hawthorn in Melbourne and the Ritz Cinemas, Randwick in Sydney.
Visit the event’s Official Website for session and ticketing details.
Writer/director Sandra Sciberras’ fourth feature The Dustwalker, in which an insidious alien parasite invades an Australian outback township, is her first genre effort. Re-energising some popular sci-fi tropes with a distinctive local flavour, fierce female leads and strong directorial vision, Sciberras recalls, “long hours in the heat of the day and freezing conditions in the night” over the course of the production, which shot on location in the remote West Australian interior.
After the films Australian Premiere at Monster Fest 2019 and global rollout via SC Films, Sandra Sciberras (pictured, above) talks to SCREEN-SPACE as The Dustwalker makes its way to DVD through Umbrella Entertainment...
SCREEN-SPACE: Were you as surprised as many of us that Sandra Sciberras decided to tackle an alien invasion pic? What piqued your interest in this genre concept?
SCIBERRAS: Oh, I think there would be a lot of directors tackling all sorts of genres in Australia if we had the opportunity to do it. I’ve wanted to make this film and others like it from the moment I left film school 20 years ago. Aliens, monsters, virus, invasion films, with great characters, [are] just good drama. It goes back to the early days of cinema, films like Frankenstein and King Kong, to the genre’s golden era in the 1950s with War of the Worlds, The Blob, The Day the Earth Stood Still and Godzilla. Then we get to the best of the best with Alien, The Thing and more recently with The Host. My interest never left, it was more that the opportunity became available. (Pictured, above; Jolene Anderson, as Joanne, in The Dustwalker)
SCREEN-SPACE: Are there themes and character traits that tie your work to date with The Dustwalker?
SCIBERRAS: Characters living [in] or trying to get out of small towns are the main things. I blame all the small town movies I grew up watching with my dad for that one, all those westerns. In three of my films, themes centre around the relationships between sisters or mothers and daughters in The Caterpillar Wish, to sisters in both Surviving Georgia and now The Dustwalker. I have a fab sister and we never had conflict growing up with each other but certainly did around us, so the bonding of siblings is at the heart of those three screenplays.
SCREEN-SPACE: The dynamic that you forge by having three strong female leads is not often seen in this all-too-often male-centric genre. What strengths did Jolene Anderson, Cassandra McGrath and Stef Dawson bring to the narrative, and the shoot?
SCIBERRAS: For starters, they are just incredible actors, human beings and creators. I love working with actors who understand character and story in the same way the writer does. These women are all writers who had a great understanding of their characters the moment we discussed the roles and the overall story. They impacted the narrative during the shoot because they made sure I didn’t miss an important beat on screen. Sometimes as a director I can work very fast. I come from low budget filmmaking so I can move on very quickly once I know I have the bulk of a scene and I have to get to the next set up. The Dustwalker is a $10million film made [for] under $2million, so there are many shots in this film that each actress made sure I got at different times in order to get the detail that the film would eventually need on screen. I love a collaborative set with actors above all else. And this was a hard shoot. Their constant, insanely happy faces, when the conditions really didn’t deserve it, was amazing! (Pictured, above: John Morris, as Frank, in The Dustwalker)
SCREEN-SPACE: Creature design is crucial to these films. How much input and backstory did you provide your team with regard to the alien’s physiology?
SCIBERRAS: The creature was definitely a process. I had strong descriptions and design elements in the script, [which] had more of a The Day the Earth Stood Still-kind of alien; a metallic humanoid with huge swords, glistening in the heat of the red desert, but in the end that didn’t work. It just wasn’t expressive enough. I wanted what was in the script to be something more creature-like, with strong physical movements that enabled it to threaten and, most importantly, communicate with the characters. That was the physiology underpinning the whole story - the creature will do anything to clean up its mess of bringing a dangerous virus to earth no matter what gets in its way. The humans have no idea of this until the final scenes when there is a confrontation between them all. The post production company worked with a couple of different designers until we found the right designer who took the creature on and was instrumental in getting it to the screen. (Pictured, above; Stef Dawson, as Samantha, in The Dustwalker)
SCREEN-SPACE: Have you purged your creative impulses of all things sci-fi/horror for now, or is the genre film something you'd like to explore further?
SCIBERRAS: Absolutely I’ll explore further! I’m in the process of writing a science-fiction project now, and also a straight drama that I’ve been dying to write. I think a director like me who started their career in drama finds the cross over to sci-fi natural. I love strong horror but can’t write it as well as others. As a director I'm interested in attaching myself to good scripts no matter what genre, but as a writer I'm going to be much more specific about what I write.
There is something darkly ironic surrounding the resurrection of Sydney’s iconic A Night of Horror International Film Festival (ANOH). After a dormant two years, the brand re-emerges zombie-like into a barren festival landscape, amidst a global pandemic; when it’s 12th iteration launches on September 24, it will be one of the first physical film festivals in a post-COVID Australia. Taking charge in 2020 is longtime festival associate Bryn Tilly, who brings to the Festival Director’s role, in his words, “a taste for the dark stuff, films undeniably nightmarish, yet thrilling.” SCREEN-SPACE spoke with our longtime friend about what it takes to scare au-diences in 2020…
SCREEN-SPACE: The once-strong brand has been stagnant for a couple of years. What were your objectives in relaunching A Night of Horror?
TILLY: The festival’s co-founder Dr. Dean Bertram has been living in the U.S. guiding his festival, Midwest Weird Fest from strength to strength. If A Night of Horror [was] to be resurrected, who better to helm the reboot than a clutch of the festival’s long-standing champions, which included myself and Enzo Tedeschi from Deadhouse Films? We brainstormed a plan of attack during spring of last year. It took awhile to build momentum, and we lost a couple of team members along the way, which prompted us to solidify a new vision for the festival. I feel confident we have shaped the best version we could, all things considered.
SCREEN-SPACE: ANOH, like every other major Sydney event, was beaten down by COVID-19. Recall for us the emotions and the practicalities you faced as pandemic conditions took hold...
TILLY: I began viewing the festival’s cold submissions back in October [while] keeping an eye on the international festival circuit. By January, I had a roster of short films and features from Australia and around the world sufficient for a four-day festival. But the event’s traditional home, Dendy Newtown, was no longer available, and subsequent venue options fell through. Then, that pesky pandemic reared its ugly head. We postponed, went into a limbo period, but never [considered] cancellation. Then, Anthony Kierann at Actors Centre Australia reached out to us, a beacon in the darkness. The reality was, due to COVID-19 restrictions, it simply wasn’t viable to hold the festival in the way we had originally intended. It killed me to have to re-structure the program [and] reduce the number of screenings, but we are nightmare warriors, determined to showcase in a festival environment works that capture the atmospheric essence of horror. (Pictured, above; The Other Lambs)
SCREEN-SPACE: What are we learning about 'Bryn Tilly, Program Director' from this collection of films?
TILLY: I was very keen on pushing the boundaries with the content, spreading the nightmare tendrils a little further afield. The festival has always championed new talent; our awards herald short film and feature screenplays from emerging writers. This is my first year as Head of Programming and it’s been a huge challenge, one that allowed me to fully indulge my nightmare movie palette, while thoughtfully compiling a program that will appeal to both horrorphiles and those that aren’t necessarily horror buffs. I love monsters, the supernatural, and I love special effects; I’ve been a fan of gore gags and creature features since I was a young teen, but I’m also a huge fan of the creeping unknown, and reality-based terror.
SCREEN-SPACE: The Devil will be in the detail. Get us excited about the 2020 line-up…
TILLY: There’s the supernatural indigenous mystery Diablo Rojo (pictured, above), from Panamanian filmmaker Sol Moreno; shocks and twists in Jeremy Karsten’s American high school hell, The Dead Ones; a disturbing portrait of a serial killer and his young son in Tom Botchii’s Artik; and, the disquieting turmoil, violation, and vengeance of The Other Lamb from Polish director Malgorzata Szumowska. We are opening the festival with Dean Yurke’s nail-biting subterranean thriller Stay Out Stay Alive, and debuting two World Premieres, both proudly Aussie - festival alumni Sam Curtain’s The Slaughterhouse Killer (pictured, below), detailing the dastardly deeds of an obese psychopath and hapless young parolee, and the confronting, heightened reality of Josh Reed’s suburban Sydney snake pit, We’re Not Here To Fuck Spiders. And the local and international shorts, once segregated into their own mini-programs, have been combined this year, showcasing a universally high caliber of horror short-form storytelling.
SCREEN-SPACE: How do you think horror filmmakers will react to the year that has been 2020? Pandemic panic, democracy in tatters, western society divided - do we need horror films anymore?
TILLY: We will never not need horror movies. Humans have an innate need to confront their fears, and the horror movie is the perfect platform to do that. In many respects, the more heightened the insanity in the outside world, the more hungry the audience becomes for escape. Audiences will seek out horror movies as a way of processing the nightmare scenario that exists outside their door, or within their home. Horror movies are often oneiric, dreamlike, surreal, even the ones that look and feel ultra-realistic. This is the most expressionistic of all film genres, allowing the viewer to absorb many elements, using them as psychological tools to better deal with the real world. Next year’s cold submissions will be riddled with themes of isolation, insanity, desolation, and disease. The apocalypse will be nigh.
SCREEN-SPACE: It's the Closing Night party and you say to yourself, "Well, I think that was a success." What will have happened that readies you to do it again in 2021?
TILLY: I hope people hang around after the Awards Ceremony for a drink or three, to chat and rave about the films; the parallels, the contrasts, the shocks, the connections. Actors Centre is laid out in such a way that festival goers will be able to socialize and still be COVID-safe. We need to push through that pandemic psychological barrier, to come out and watch a movie with a bunch of other people. Trust in your nightmare warriors! I feel confident that this year’s A Night of Horror will bring back that community vibe. As for the future, Enzo and I share a vision of what we want the festival to evolve into; post-September, we will debrief and make new, devious, diabolical plans. Keep your eyes peeled!
A NIGHT OF HORROR INTERNATIONAL FILM FESTIVAL will run September 24-26 at the Actors Centre Australia, Leichhardt. Full session and ticketing details can be found at the event’s official website.
FANGORIA X MONSTER FEST 2019: The well-trodden road to overnight bigscreen success began for Airlie Dodds in 2010 with the short film, Purple Flowers. Nearly two decades later, after 10 more short films, a healthy live theatre resume and a stint on the iconic TV series Neighbours, her lead performance as the blood-splattered heroine Kayla in Tony D’Aquino’s The Furies is generating career-defining buzz. Only her third feature film role, the tough 20-day shoot in the wilds outside of Canberra required a physical commitment she was not entirely ready for. The acclaim coming her way, that, she’s ready for…
“I do a lot of short films and TV, so I turn up, do a little bit and go home,” said Dodds, addressing the Monster Fest crowd in Melbourne at a Q&A appearance hosted by SCREEN-SPACE’s Simon Foster. “So, by the second week of the shoot, I was like ‘Tony, I’m so tired!’ And he said, ‘Yeah, me too.’ But we were fine. It was exhilarating, even euphoric running through this bush location.”
Dodds came to the audition process with a strong sense of her character, a young woman thrust into a brutal bushland game of survival when pitted against five merciless monsters. “It was pretty much all on the page, nothing really changed,” she says, recalling that moment when she had to stand before her somewhat offbeat writer/director and weigh up her career choice. “When I did the audition, it was the big scene at the end just after a key character had died. I looked down, towards Tony, and he was watching the monitor wearing purple socks and an avocado T-shirt and I’m thinking, ‘Well, this is my life’ (laughs).”
Making his feature film directorial debut, Tony D’Aquino presents as a pure gentleman, softly spoken and unassuming. Yet he has delivered a horror opus that harkens back to the most gruesome examples of the slasher genre; no surprise his favourite film is The Texas Chainsaw Massacre. For Dodds, that dichotomy of character helped her build trust with her director. “He’s very gentle and quite meek,” she recalls fondly. “You might think that in a performative sense he would be pushing for intensity, but his gentleness can ground you at times, which felt very nurturing.” (Pictured, left; D'Aquino, left, with DOP Garry Richards)
The complex psychology of Kayla was key to the actress going after the role. She had played lauded support parts in Damian Power’s acclaimed thriller Killing Ground and Heath Davis’ comedy/drama Book Week, and was ready to graduate to a multi-dimensional lead role. “The main thing about Kayla within this type of genre film is that it helps her emerge, really weaves out her inner strength,” says Dodds, who responded to the convincing character arc in D’Aquino’s script. “When you meet her, you’re not inclined to think her very strong, and she doesn’t really know herself until the circumstances force her to. It was less about the idea of the character and more about her immediate actions that ultimately define her.”
High on the actress’ list of positives was that Kayla has to interact with several female characters to survive. Actresses Linda Ngo, Taylor Ferguson, Ebony Vagulans, Danielle Horvat, Jessica Baker, Harriet Davies and Kaitlyn Boyé are granted as much complexity, if not screen time, as Dodds’ Kayla. For the actress, it was central to the story’s appeal. “There are so many stories about men being cunning and violent and manipulative and crazy, so one of the great things about this film is that it shows those complex elements being explored with women characters,” she opines. “The characters [who survive], do so because of their light, feminine value; they use compassion to get ahead. It is still a tactic, a survival tactic, but it is genuine. They all represent aspects of femininity, the resourcefulness or the vindictiveness, and I like that they are as complex as any male character.” (Pictured, above; from left, Linda Ngo, Dodds and Ebony Vagulans)
THE FURIES director Tony D’Aquino will be present for a Q&A following the Fangoria x Monster Fest session on October 31 at Event Cinemas George Street, Sydney. Check the official website for further information.
FANGORIA x MONSTER FEST 2019: As Chairperson of the New South Wales chapter of Women in Film & Television (WIFT), Megan Riakos is one of the most determined advocates for gender equality in Australian cinema. She has fought that fight in the male-dominated ivory towers of the government, corporate and film sector for some time now, but she knows the most effective way to counter long-held prejudice is to get the work of women filmmakers to the fore. To that end, with producing partner Leonie Marsh, she has curated the anthology work Dark Whispers Vol. 1, a collection of vivid and complex horror shorts directed by women from the last decade of Australian film.
Ahead of the film's NSW premiere at Fangoria x Monster Fest 2019, Riakos very kindly compiled the thoughts of her team of extraordinarily talented filmmakers for SCREEN-SPACE, posing to them (and herself) the question, "What inspired your contribution to the Dark Whispers project..."
(Pictured above, from left to right; top - Megan Riakos, Briony Kidd, Jub Clerc, Lucy Gouldthorpe; middle - Leonie Marsh, Isabel Peppard, Kaitlin Tinker, Madeleine Purdy; bottom - Angie Black, Janine Hewitt, Katrina Irawati Graham, Marion Pilowsky.)
MEGAN RIAKOS (Co-producer; Dir: THE BOOK OF DARK WHISPERS, the wrap-around narrative that binds the anthology; stars Andrea Demetriades) “Dark Whispers was curated from a callout for completed films and we received impressive submissions from almost every state and territory in a myriad of sub-genres. There are great hidden depths of talent out there and I feel very privileged to be the caretaker of these films and to have the opportunity to work with these amazing filmmakers for the project.”
BRIONY KIDD (Dir: WATCH ME; stars Tosh Greenslade, Astrid Wells Cooper, Jazz Yap) “Watch Me was written by Claire d'Este, from a concept she says was inspired by ‘The Nothing’ in The Neverending Story. Claire and I are friends and I think she knew it was an idea that would appeal to me. I love how it's quite simple but there's a lot to think about. The protagonist is quite unlikeable on the surface, and yet she is somewhat sympathetic because of what we see her going through. I enjoy characters who are not easy to pigeonhole.” (Pictured, right; Astrid Wells Cooper in Watch Me)
JUB CLERC (Dir: STORYTIME; stars Jhi Clarke, Sylvia Clarke, Jimmy Edgar) “I was inspired to tell the story of a mythological being from my cultural heritage to pay homage to all the campfire stories my family would share on hunting trips. I shot Storytime in 2005, so to have life breathed back into it in this format with all these wonderful female directors is such a treat. Having the opportunity to terrify a whole new audience is so rewarding.”
LUCY GOULDTHORPE (Dir: GRILLZ; stars Tosh Greenslade, Melanie Irons) "Grillz was partly inspired by a raft of dreadful online dating experiences. I felt so vulnerable going on dates with people who weren't what they seemed from their online personas. So we flipped that and our main character Milla preys on the vulnerability of her online hook ups. I also wanted to make something short, sweet and black and white in my hometown of Hobart. Something fun and cheeky with a strong woman vampire who was dealing with stuff that ordinary women have to deal with - weeding through online matches and making a trip to the dentist." (Pictured, right; Melanie Irons in Grillz)
LEONIE MARSH (Prod: DARK WHISPERS VOL. 1) “Being a part of the producing team of Dark Whispers has been a great joy; to work with so many wonderful women; to create new opportunity for these stories and these filmmakers' careers, and to highlight the wealth of talent we have here in Australia to the rest of the world.”
ISABEL PEPPARD (Dir: GLOOMY VALENTINE) "My film was inspired by the song ‘Gloomy Sunday’, also known as the Suicide Song. It was written by a Hungarian composer in the 1930s and interpreted by Billy Holiday who's version was banned by the BBC till 2002 after a spate of deaths were associated with it. I went through a period of infatuation with this song and the combination of music and lyrics inspired a series of poetic visuals. These ended up being the inspiration for Gloomy Valentine."
KAITLIN TINKER (Dir: THE MAN WHO CAUGHT A MERMAID; stars Roy Barker, Bilby Conway, Verity Higgins) "[I wanted to examine] the male gaze, the projection of anima and the hidden, darker side of Australian suburbia. What lies beyond those garage doors? What secret, inner worlds are we operating in? I lost the opportunity to make a feature film because a male executive decided he could re-write my feminist, prize-winning horror pitch better than I. It was crushing. I'd relish the opportunity to develop a feature with a supportive production house, and to write/direct for live theatre.” (Pictured, right; Bilby Conway in The Man Who Caught a Mermaid)
MADELEINE PURDY (Dir: LITTLE SHAREHOUSE OF HORRORS; stars Georgia Wilde, Colan Leach, Travis Jeffery) “Fear is always relevant, but the things we fear in horror films, not so much. I wanted to speak the same language as this genre I love so much, but using the (often banal) fears that spike my adrenalin on any given day as the subject. I freak out about the natural world quite a lot. The main character in Little Sharehouse of Horrors, Maeve, is similar to myself. We exist in a little world where people talk agricultural conspiracies, and freak ourselves out about the consequences of putting in our body what we do. In short, my own anxieties inspired the short.”
ANGIE BLACK (Dir: BIRTHDAY GIRL; stars Sarah Bollenberg, Michaela Teschendorff-Harden) “The writer, Michael Harden and I had been working on a horror feature script that was drawing on aspects of Japanese horror. We wanted to investigate the fragile psychological state after loss and both of us being parents thought that the loss of the child is about as dark as you could go. Birthday Girl is about a mother who isn’t ready to let go and is tormented at the thought of not remembering.”
JANINE HEWITT (Dir: THE INTRUDER; stars Asher Keddie, Bree Desborough) “The idea for The Intruder came from a ghost story that was emailed to me by a colleague. It posed the question - what would you do if your friend turned up wanting to talk to you but you received a phone call during your conversation letting you know that same friend had died? The email gave me goose bumps and I knew it could be developed into a great short horror film.” (Pictured, right; Asher Keddie in The Intruder)
KATRINA IRAWATA GRAHAM (Dir: WHITE SONG; stars Derty Eka Putria, Alana Golingi, Luke Wright) “The Kuntil Anak ghost is Indonesia's most famous ghost. She is the ghost of a woman who has died in childbirth, often from a pregnancy that has resulted from male violence. She haunts pregnant women, children and men. As a child growing up in Jakarta, I was terrified of her! Later, as a young mother and abuse survivor myself, I switched from identifying as the possible victim to identifying with the ghost. I understood her desire for revenge, but also saw that there could still be the redemptive power of love even in the cold heart of a ghost. So I wrote White Song - an Indonesian ghost story told from the ghost's perspective.”
MARION PILOWSKY (Dir: THE RIDE; stars Anthony LaPaglia, Ed Speelers, Emer Kenny) “Unbeknownst to me, my father had written a short story called 'The Lift’ under a pseudonym in 1961. Some 50 years later, he gave it to me to read and I loved it. I felt very connected to the material and I asked him how I could talk to the writer. That’s when all was revealed! I updated the setting, found a fantastic producer and pushed the button, thinking I would be paying for it myself. Then, the BBC came on board three days before we shot, which was amazing. During the pre-production madness, Anthony LaPaglia (who I knew from Adelaide) read the script and said that if I hadn’t cast the role of the 'Driver' he wanted it. The Ride was my first adaptation and first short film as a director so I was very fortunate for such great support.”
DARK WHISPERS VOL 1 will screen on Sunday November 3 at 6.15pm at Event Cinemas George Street, Sydney as part of Fangoria x Monster Fest 2019. Following the screening, the directors will be present for a QA session hosted by SBS Movies Managing Editor, Fiona Williams. Full ticket and session details can be found at the venue's official website.
Tuesday, April 4, 2023 at 6:11PM 
According to Festival Director, Hudson Sowada, "This year's program pushes the limits of storytelling and challenges conventional notions of reality. We're excited to showcase such an eclectic range of films, and we encourage audiences to take risks and embrace the strange."
Venturing beyond the traditional cinema experience is the world's first scratch and sniff session, called Teenage Mutant Ninja Turtles Stink-O-Vision. Audiences are taken on a olfactory journey through the sewers of New York City, accompanied by a menu of bespoke scents; simply scratch the corresponding number on the scent card when the icon flashes on screen. The other key retro screening on the roster is Audition, cult director Takashi Miike's 1999 classic starring the unforgettable frightening Eihi Shiina (pictured, right).
