FIRST WAVE OF FRONTIÈRES FUNDING HOPEFULS ANNOUNCED

The 12th Frontières Co-Production Market has unveiled the first wave of genre projects to vie for 2020 financing. For the first time, the high-level pitch sessions will take place online, with an eventual roster of 20 projects - ten from North America and ten from Europe - bidding for funding. The Montreal-based virtual film market, usually a key component of the Fantasia International Film Festival, has been repurposed in the wake of the Covid-19 pandemic and will run July 23-26.

"The submissions we received for the Frontieres Market confirmed that we needed to keep going, even virtually. We welcomed many excellent submissions and the selection was a highly difficult process, and from that we are extremely proud to feature a majority of projects directed by women in this first wave," said Frontières executive director Annick Mahnert (pictured, below) via statement, noting 70% of the titles have women directors attached. Past Frontières-funded films include Julia Ducornau’s Raw, Alexandre O. Philippe’s 78/52, Neasa Hardiman’s Sea Fever and Lorcan Finnegan’s Vivarium.

Projects announced last week include director Ashlea Wessel
's Lest We Be Devoured, a retro horror-comedy set for release on Shudder; Norwegian writer/director Kjersti Helen Rasmussen's The Nightmare; Chelsea Lupkin's Tell Them What You Saw, from the indie genre slate at Yellow Veil Pictures; and, Simon Jaquemet’s Electric Child, the first film from Switzerland to find favour with the Frontières selectors.

After festival circuit success with the offbeat alien exposè Love and Saucers (2017), director Brad Abrahams (pictured, below) will be at Frontières repping his latest feature, the unknown creatures doc Cryptozoologist. “It’s been a long road for this project, with a lot of false starts,” says Abrahams, “so Frontieres is huge for us. It is our best shot at getting this doc made and finished. We’re also proud to be the only documentary in this strong genre film lineup.”

The introduction of the online pitching process is not being taken lightly by the young director, who is approaching the digital meeting, he says, “with an incredible amount of preparation, more so than if we were doing it in person.” Abraham points out, “Video chats are inherently awkward, with even small delays negatively impact delivering lines. A pitch video is required, and we’re going to do something fun with it.” 

In the true genre filmmaking spirit, Abrahams promises nothing will be left to chance. “Our bigfoot suit may make an appearance,” he teases.

The ten first wave films announced are: 

616 (Italy) Director: Lyda Patitucci; Writer: Milo Tissone and Federica Pontremoli; Producers: Marina Marzotto, Mattia Oddone (Propaganda Italia), Simone Gandolfo (Macaia Films)

CRYPTOZOOLOGIST (USA) Director: Brad Abrahams; Writer: Matt Ralston; Producer: Matt Ralston (Yeti Films)

ELECTRIC CHILD (Switzerland, France) Director/Writer: Simon Jaquemet; Producers: Michela Pini (8horses GmbH), Didar Domerhi (Maneki Films)

ICE (United Kingdom) Director/Writer: Stéphanie Joalland (pictured, above); Producer: Sean McConville (Frenzy Films)

LEST WE BE DEVOURED (Canada) Director: Ashlea Wessel; Writer: Jim Munroe; Producers: Peter Kuplowsky, Shannon Hanmer (Low Sky Productions)

OUBLIER CHARLOTTE (Canada) Director/Writer: Chloé Cinq-Mars (pictured, left); Producer: Nicolas Comeau (1976 productions)

PERCHTEN - THE LOST WINTER (Italy) Director/Writer: Rossella De Venuto; Producers: Maurizio Antonini (Interlinea films)

TELL THEM WHAT YOU SAW (USA) Director/Writer: Chelsea Lupkin; Producers: Sarah Kalagvano, Michael Peterson (775 Media Corp), Yellow Veil Pictures

THE LAST VIDEO STORE (Canada) Director: Cody Kennedy; Writers: Tim Rutherford; Producers: Greg Jeffs (NJC Productions), Cody Kennedy & Tim Rutherford (The Last Video Store Inc.)

THE NIGHTMARE (Norway) Director/Writer: Kjersti Helen Rasmussen; Producers: John Einar Hagen (Nordisk Film Production), Einar Loftesnes (Handmade Films in Norwegian Woods)

BLACK LAKE: THE K / XI INTERVIEW

Despite its old-school horror title, Black Lake is one of the most unique genre visions to emerge from the U.K. independent sector in many years. Inspired by an act of brutal sexual violence in South Delhi in 2012, it tells the story of an isolated artist who must cope with the presence of a Churail, a vengeful South Asian spirit. A work of both stunning beauty and chilling intensity, Black Lake is a remarkable achievement for writer/director/star K Pervaiz, aka K / XI, the London-based head of Bad Wolf Films, whose Pakistani heritage became central to the narrative. “I was personally invested in the film,” she told SCREEN-SPACE, ahead of her film’s World Premiere on the Women in Horror Film Festival…

SCREEN-SPACE: It has been a long journey to bring Black Lake to the screen. What has inspired you, kept you invested in the project?

K / XI: I wanted to bring a monster to the screen, one that I had not come across outside of Bollywood cinema. She appears as a beautiful seductress and killer of men, [with] long black hair, backwards feet and contorted limbs, which I have never seen on screen. I discovered a history of violence against women who did not conform to society and were raped, and or/murdered for it. These were the women that were said to come back as a Churail.

SCREEN-SPACE: The cyclical nature of violence against women is central to the story…

K / XI: My research tied in with the case of Jyoti Singh, a young woman who was coming back from the cinema on a bus and was brutally gang-raped, dying a few days later. This turned ‘Black Lake’ into a complex monster film, which not only deals with violence against women, but the cycle of violence which continues, often by the hands of the abused. Women in South-Asia rarely have an option to talk about the violence that they are subjected to. I wanted to be that voice, because at times in the past, I too had no voice. (Pictured, right and below; K / XI as Aarya in Black Lake)

SCREEN-SPACE: Why did exploring such themes within a genre/supernatural framework appeal to you? 

K / XI: What I love about horror is it can be used to call for social justice whilst also be enjoyed for being beautiful, artistic, entertaining. The violence of the Delhi bus crime affected me so deeply. I wanted to create a horror film that toned down on the violence and one was beautifully shot [but] unsettling at the same time. I wanted audiences to feel their heart racing in fear, but also not be able to look away. Attention is drawn to the ‘horror film’, but also challenges audiences to look beyond. The Churail in ‘Black Lake’ is a supernatural product of violence against women, and this origin story of sorts worked well with the themes of the film.

SCREEN-SPACE: In ‘Aarya’, you take on the complexities of an artist seeking inspiration, a woman of South Asian heritage and a family member struggling with the ties that bind…

K / XI: I have always been told to write what you know, and I am all those things. I had never seen anyone like me on screen so rather than focusing on differences, I wanted to capture everyday moments of my character Aarya, to make her relatable; eating cereal, drinking coffee, working out and watching a movie. ‘Black Lake’ relies on Aarya being a character that people can hopefully look up to because she is independent, strong willed, takes risks and doesn’t spook easily.

Aarya the artist had to be strong yet sensitive, to allow her to be open to experiences. The painting scenes were some of the toughest moments in terms of performance because they were wild, intimate and ritualistic. As audiences we so often see anger portrayed in films that deal with violence against women, and I really wanted to show the other side of that, which is reflection, understanding and transformation. (Pictured, above; K / XI, right, with co-producer Sei-Kai Leung) 

SCREEN-SPACE: You made the decision to reshoot much of the movie, a production that had already tapped you creatively and financially. Tell us about the struggle that lead to that moment...

K / XI: Black Lake was going to be shot entirely in Pakistan. When I got there, my cast and crew dropped out because they were terrified of the concept of the Churail. Spooky things had happened the last time I filmed there. I filmed a prologue in a village near Makhli Necropolis, where I had met a young beggar girl called Naseema (pictured, left). We started paying the villagers, but local authorities would turn up with guns and take the money, putting the villagers at risk. I decided to make do with the footage I had.

Back in London, I amended the script, put another team together and took the production to an isolated house in Scotland, but things did not go to plan. We lost our lead actress a month before the shoot. The cast and crew were not connected to the story; I was told by one crewmember that I wasn’t Hitchcock or Kubrick and that I should hurry things along. We got the whole film shot, entirely self-financed; I remember crying on the last day, alone by the lake, because a traumatic story now felt more painful. I edited the film, but all I felt was the negative energy.

I was in such a dark place. The story was too important to let go and needed nurturing. I made the tough decision to act the lead, despite being camera shy; after all, I knew Aarya better than anyone. I replaced the crew with people who were focused on seeing the film right through to the end.

SCREEN-SPACE: The music plays such an integral part of Black Lake. What direction did you give BurningTapes to achieve the beautiful soundscape? 

K / XI: I know exactly what I want, but I am always open to innovative ideas people bring. When I first sent the movie over to Darren [Page] of BurningTapes, I had music in place for key scenes to explain the emotions I wanted conveyed. We both loved certain horror movies, so when I would make a reference and say ‘I’d like more of that feeling’ or ‘more worms’, he would know what I meant. That was really special. I would listen to [their] score with my eyes closed and if my body responded, [with] a tear or if my hairs stood on end, I knew it was perfect. We released the score on limited edition vinyl a year ago and sold out in a day! It was important to me that people heard the sounds of the Churail before they saw the movie. That was my way of giving her a voice and allowing her to be heard. I could also finally sleep with the light off.

BLACK LAKE will have its World Premiere at Women in Horror Film Festival, Marietta, Georgia on February 28. Check the official event website for ticket and session information.