New Aussie horror flicks have been popping up non-stop lately, and the next one to swim to our shores at this year's American Film Market is producer Ross Howden and director Nathan Christoffel's Safe Water. Read on for details.
No stars are attached as of yet, but you can check out some tiny sales art and the plot crunch below.
Synopsis
Former surf champion Shelly returns to the sleepy beachside community that saw her grow up before making worldwide headlines. Now disgraced, she braces herself for a small-town backlash. Yet, when it comes in an unexpectedly horrific form, Shelly has to wield all of her resources just to survive.
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No stars are attached as of yet, but you can check out some tiny sales art and the plot crunch below.
Synopsis
Former surf champion Shelly returns to the sleepy beachside community that saw her grow up before making worldwide headlines. Now disgraced, she braces herself for a small-town backlash. Yet, when it comes in an unexpectedly horrific form, Shelly has to wield all of her resources just to survive.
Visit The Evilshop @ Amazon!
Got news? Click here to submit it!
Catch a deadly wave in the comments section below.
- 11/8/2013
- by Uncle Creepy
- DreadCentral.com
Call it the Van Diemen's Land effect.
After years of up-and-coming Australian directors using well-trodden territory such as horror, revenge or supernatural movies to make their first independent splashes into the global film pool, we're now seeing a rash of new filmmakers delving back into the nation's bloody past to make their debuts.
Van Diemen's Land -- with it's true to life tale of bloody cannibalism in the harsh unforgiving wilderness of early 1800s Australia -- was a start, and a few weeks ago we added Moonlite (an unorthodox tale about the outlaws that stole from the mail coaches and banks during colonial Australia) to the list.
Now we can add 1629 -- finally a story of the bloody Batavia shipwreck and aftermath -- directed by Nathan Christoffel who made a startling indie debut with his no budget Brazil-esque Eraser Children and produced by Andrew Scarano, who was the driving force behind Into The Shadows,...
After years of up-and-coming Australian directors using well-trodden territory such as horror, revenge or supernatural movies to make their first independent splashes into the global film pool, we're now seeing a rash of new filmmakers delving back into the nation's bloody past to make their debuts.
Van Diemen's Land -- with it's true to life tale of bloody cannibalism in the harsh unforgiving wilderness of early 1800s Australia -- was a start, and a few weeks ago we added Moonlite (an unorthodox tale about the outlaws that stole from the mail coaches and banks during colonial Australia) to the list.
Now we can add 1629 -- finally a story of the bloody Batavia shipwreck and aftermath -- directed by Nathan Christoffel who made a startling indie debut with his no budget Brazil-esque Eraser Children and produced by Andrew Scarano, who was the driving force behind Into The Shadows,...
- 7/5/2010
- Screen Anarchy
Is it a revelation or a revolution? It’s both! The Revelation Perth International Film Festival is tackling the theme of “Revolution” when its 13th annual edition begins violating Australia on July 8-18. Get set for 11 days filled French zombies, Belgian cowboys, outer space outlaws, Beat poets, cat ladies, gospel musicians and other revolutionaries.
Actually, one of the main features of the festival this year is a slew of music documentaries, mostly spotlighting both American and Australian music. On the U.S. side of things there’s Wheedle’s Groove, a look at the history of Seattle funk; Rejoice and Shout, which examines gospel music’s impact on African-American culture — and vice versa; Tom Dicillo’s Doors documentary When You’re Strange; plus The Family Jams and 72 Musicians. And, from Australia, there’s Megan Simpson-Hubberman’s classic concert film The Night of the Triffids.
There’s lots more than music docs,...
Actually, one of the main features of the festival this year is a slew of music documentaries, mostly spotlighting both American and Australian music. On the U.S. side of things there’s Wheedle’s Groove, a look at the history of Seattle funk; Rejoice and Shout, which examines gospel music’s impact on African-American culture — and vice versa; Tom Dicillo’s Doors documentary When You’re Strange; plus The Family Jams and 72 Musicians. And, from Australia, there’s Megan Simpson-Hubberman’s classic concert film The Night of the Triffids.
There’s lots more than music docs,...
- 7/2/2010
- by Mike Everleth
- Underground Film Journal
Year: 2009
Directors: Nathan Christoffel
Writers: Nathan Christoffel
IMDb: link
Trailer: link
Review by: Ben austwick
Rating: 5 out of 10
Despite a low budget, Eraser Children is at times a stylish film of visual flare, and certainly can't be accused of not trying. But with a poor script, poor cast and practically nothing at its heart, its promising style and hyperactive approach is wasted on an empty, meaningless film.
It's a little difficult to decipher what's going on in this confusing and badly written movie, but there's no doubt where it gets its ideas: Terry Gilliam's Brazil. The setting is an authoritarian future where office workers talk to each other in bureaucratic jargon ("Regulation 4-210/67898" – weary stuff we’ve heard countless times before), while being casually beaten by the police while they walk down their office corridors, the one funny touch in a film where the camp, theatrical comedy otherwise constantly misfires.
Directors: Nathan Christoffel
Writers: Nathan Christoffel
IMDb: link
Trailer: link
Review by: Ben austwick
Rating: 5 out of 10
Despite a low budget, Eraser Children is at times a stylish film of visual flare, and certainly can't be accused of not trying. But with a poor script, poor cast and practically nothing at its heart, its promising style and hyperactive approach is wasted on an empty, meaningless film.
It's a little difficult to decipher what's going on in this confusing and badly written movie, but there's no doubt where it gets its ideas: Terry Gilliam's Brazil. The setting is an authoritarian future where office workers talk to each other in bureaucratic jargon ("Regulation 4-210/67898" – weary stuff we’ve heard countless times before), while being casually beaten by the police while they walk down their office corridors, the one funny touch in a film where the camp, theatrical comedy otherwise constantly misfires.
- 5/18/2010
- QuietEarth.us
Yes, we've been eagerly awaiting this Aussie dystopic mindf*ck, and while it's still in heavy post, director Nathan Christoffel sent over some brand new stills from portions of the film we haven't seen yet.. it doesn't reveal much but whets the appetite even more. If you missed this gem we recommend checking out the teaser, and after that checking out the full gallery of stills we have.
In a world of useless products, police brutality, pre-paid dreams and a list of Violations so long if you laugh too loudly you wll be fined, Misner Corporation has invented a new source of energy which has given them a global monopoly on all facets of human life, creating a totalitarian society ruled by one man, Misner.
Anyone not willing to work for Misner's regime, lives underground in a dark world of insane 'system dropouts'. Only coming above ground for the 1 hour...
In a world of useless products, police brutality, pre-paid dreams and a list of Violations so long if you laugh too loudly you wll be fined, Misner Corporation has invented a new source of energy which has given them a global monopoly on all facets of human life, creating a totalitarian society ruled by one man, Misner.
Anyone not willing to work for Misner's regime, lives underground in a dark world of insane 'system dropouts'. Only coming above ground for the 1 hour...
- 3/8/2009
- QuietEarth.us
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