THE NIGHTSHIFTER
MORTO NÃO FALA
2018, 110 min, Brazil, Dir: Dennison Ramalho

Stênio (Daniel de Oliveira) works the night shift at the local morgue in an incredibly violent Brazilian city; his marriage is failing and his son constantly disrespects him. What keeps him going is his extraordinary ability to converse with the mutilated cadavers he sews up, primarily gang members and criminals. Stênio talks with the city’s slain, learning their endless, potentially lucrative secrets - and unwittingly invites violence and mayhem to his doorstep when he acts on information from a particularly nasty corpse. A terrific genre film; tense, terrifying and relentlessly creepy, this gem offers up exceptional gory set pieces to sate hardcore horror fans up through its thrilling climax.


LUZ
2018, 70 min, Germany, Dir: Tilman Singer

Shooting on luscious 16mm Scope, first-time feature writer-director Tilman Singer crafts a revelatory experimental shocker, with a dual ’70s arthouse and horror sensibility: Think Fulci by way of Zulawski. Bloodied and bruised, Chilean cab driver Luz (Luana Velis) stumbles into a near-empty police station on a stormy night. Elsewhere, her childhood friend Nora (Julia Riedler) seduces a psychologist with alcohol; by the time the doctor is ushered into the police station, it’s obvious there’s more to him than meets the eye. As Luz is repeatedly forced to rehash the events leading up to her arrival at the station, it becomes clear that something truly sinister is afoot, with life-and-death implications.


MONSTER PARTY
2018, 83 min, USA, Dir: Chris von Hoffmann

When a trio of teen thieves infiltrates an elite dinner party by posing as servers, they find themselves wholly unprepared for what’s on the night’s menu - they’ve stumbled upon homicidal upper-class cultists in the throes of 12-stepped, stop-the-slaughter recovery! All hell breaks loose when the stickup goes south and the upwardly mobile murderers shed social graces in favor of their sociopathic sensibilities. Featuring pitch-perfect performances and garnished with salty social commentary, Chris von Hoffmann’s sophomore feature is funny, frightening and flush with enough practical effects and gore to sate even the most demanding horror fans.


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