horror

Movie Review: PSYCHO (1960) Directed by Alfred Hitchcock

festreviews acting, actors, Alfred Hitchcock, horror, Movie Review, murder, mystery, Uncategorized , , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

PSYCHO MOVIE POSTERPSYCHO, 1960
Movie Reviews

8.5/10 Fan Rating on IMDB.com

Read more professional reviews

Directed by Alfred Hitchcock
Starring: Janet Leigh, Anthony Perkins
Review by Steven Painter

SYNOPSIS:

After embezzling $40,000 from her employer, Phoenix office-worker Marion Crane flees the monotony of her mundane existence with dreams of starting a new life in California with her boyfriend, Sam Loomis. As night begins to fall, an exhausted Marion decides to spend the night at a remote motel owned by Norman Bates, a peculiar, reserved young man under the control of his ailing but domineering mother.

REVIEW:

Have you ever walked into a movie theater, sat down and watched the entire movie from start to finish? Of course you have. Did you know that you have Alfred Hitchcock to thank for this way of watching movies? In 1960 a little movie named Psycho was released. It changed the way movie making, censorship and movie watching was done in America. Quite frankly it might be as close to the perfect movie as anything else ever made.

Murder was not a subject that was taboo to Hitchcock by 1960. A murder or killing seems to occur in every one of his movies. Killing was routine on-screen before the 1960s, although the actual shooting of the gun or stab of the knife was rarely seen. But with Psycho Hitchcock did the unthinkable, he killed off a big star and he showed it in the bathroom no less.

This idea of killing off a star like Janet Leigh and showing it caused trepidation in Hollywood. No one would fund Psycho. In order to cut costs the movie was shot in black and white, the famous shower murder blood is actually chocolate sauce, and production was done by Hitchcock’s television crew. If Hollywood studios were mad at Hitchcock, the censors were enraged. They threatened to not approve the film. That did not stop Hitchcock from going ahead with production however. Thanks to the success of Psycho and Some Like It Hot, which was released a year earlier, the production code in Hollywood became less strict.

The movie’s stars were the well-known Leigh and a little known television actor named Anthony Perkins, who would forever be typecast after his portrayal of Norman Bates. Leigh plays Marion Crane, a common secretary who lives in Phoenix. Hitchcock has once again introduced a theme of birds into one of his movies. Crane happens to love Californian Sam Loomis, but she cannot marry him because he is in debt, paying alimony to his ex-wife.

As it happens, Crane’s boss receives $40,000 from a client. The boss is tied up with the client, so Crane volunteers to deposit the money in the bank and then head home as she complains of a headache. Instead, she decides to run off to California with the money so she can get married. As movie watchers we want Crane to make it to California, even though we know stealing the money was the wrong thing to do.

Hitchcock throws in some good suspense on Crane’s road trip to California. A cop asks her why she is stopped on the road at one point. She said she was tired and had to pull over for the night. She then decides to trade in her car, as her boss who saw her as she was leaving town, might call her in to question when he finds out the money is missing. Once again, this time at the car dealership, a police officer poses a threat to Crane’s safety. Throughout the whole thing the audience is concerned with the money and Crane coming out alright.

Then we switch gears. While on the road it becomes dark and stormy. Crane can’t keep driving so she decides to pull over at the Bates Motel. Here she checks in and is greeted by the quirky Norman Bates. Bates seems like a nice fellow, who really is just doing this hotel clerk job because of his sick mother. For some reason Bates enjoys talking about his mother, but as an audience all we care about is Crane making it to California safely.

Unfortunately, she does not. During the night, Crane decides to take a shower. While in the shower she is attacked by the crazed Mrs. Bates in the famous murder scene, with Bernard Herrmann’s violins accompanying. This event was so unbelievable at the time; Hitchcock wanted to make sure that the audience witnessed it, so he told movie theater owners not to let anyone in after the movie had started. Before this people would walk into a movie theater at any time and watch the movie, then stick around and watch the movie again up to the point when they walked in. Then they would leave. But Psycho would not work if people saw the movie like that, so Hitchcock created a trend in movie going that has continued to the present day.

Back to the story, our friend Norman now has to clean up after his mother has made an awful mess in the bathroom. As an audience our affection has changed from Crane to Norman Bates because he seems like a nice kid. Hitchcock ensures that audience sympathy is with Bates when Norman tries to submerge Crane’s car in a swamp. At first the car does not want go down. Like Norman, the audience sits on the edge of their seats, until finally the thing begins to sink.

By this time the $40,000 has been reported missing. Detective Arbogast has been called out to examine it. He follows Crane’s sister from Tucson to California where Loomis is. Everyone knows Crane was going to find Loomis. The only problem is she has not arrived. Arbogast checks around and finds out that she was staying at the Bates Motel. After some inquiry, including going into the Bates House, Arobogast finds himself in the swamp. He has become another victim of Mrs. Bates’ knife.

When Arobogast doesn’t show up Loomis and Crane’s sister, played by Vera Miles, decide to see what happened to him. They find out. The old Mrs. Bates has actually been deceased for quite some time. Her son has kept her body relatively well preserved and for some reasons that will be explained by psychologists, he enjoys dressing up like her and killing people. He attempts to kill Crane’s sister, but Loomis stops him.

The movie ends with a psychiatrist giving an explanation of what we just saw happen on the screen. This is all very important stuff that the psychiatrist says, but what stands out about the ending is when we see Norman Bates again. He is sitting in a room alone, looking at a fly. We hear his mother’s voice speaking. Then Hitchcock superimposes a skull over the smiling Bates face, leaving the audience with one more frightening image before the story ends.

Quite simply, this is a must see movie for anyone that is living. But if you are a moviemaker, horror fan or want to be introduced to Alfred Hitchcock, then Psycho is the perfect movie for you.

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

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Movie Review: MARNIE (1964) Directed by Alfred Hitchcock

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

MARNIE, 1964
Horror/Thriller Movie Review
Directed by Alfred Hitchcock
Starring Tippi Hedren, Sean Connery
Review by Steven Painter

7.2/10 IMDB fan rating

Read more professional reviews of Marnie.

SYNOPSIS:

Mark marries Marnie although she is a habitual thief and has serious psychological problems, and tries to help her confront and resolve them

REVIEW:

There are many gems Alfred Hitchcock made that do not get the fanfare other movies of his have gotten. From the 1940s, Foreign Correspondent is underappreciated. In the 1950s it is Strangers on a Train. In the 1960s that movie is Marnie (1964).

Marnie is Hitchcock at his psychological best and probably the last great movie of his career. It is certainly the final movie of an era. It would be the last time Hitch worked with cinematographer Robert Burks, who would die soon after finishing the picture from a heart attack, and legendary composer Bernard Herrmann. The two had artistic differences.

The bad thing about this is that when Hitchcock had a difference of opinion with someone – they left the Hitchcock production company. It happened to Ingrid Bergman and it happened during this movie to Ian Hunter. The screenwriter had worked on several Hitchcock pictures, but disapproved of the rape scene in the novel version of Marnie. He voiced his displeasure over the scene to Hitch and Hitch severed relations with the screenwriter. It was only later that Hunter learned the only reason why Hitch wanted to make the movie was because of the rape scene.

Marnie can be looked at as the last great Alfred Hitchcock movie. It is a fitting tribute to a career that spanned more than four decades up to this point.

Tippi Hedren returns to the screen as Margaret Edgar, also known as Marnie. The original choice for the role was Grace Kelly, but at this time she was Princess of Monaco and it would have looked bad if a princess was playing a kleptomaniac. So Hedren got the role of the psychologically confused kleptomaniac.

Using different names and appearances, Marnie moves from job to job, stealing money from her employers before moving on to another town. One job she takes is with publisher Mark Rutland, played wonderfully by Sean Connery. Mark happens to recognize Marnie’s features from a previous business encounter. He becomes fascinated by her and tries to move in on her romantically. She ignores him as the only love she has ever felt in her life has come from stealing money.

She steals money from Mark’s company and makes a dash for it. Mark discovers the loss and balances it. He then takes off to find out who this wild girl really is. He tracks Marnie down at some stables she frequents, as horseback riding is one of her escapes. He then uses blackmail as a technique to get her to marry him.

The wonderful idea of marriage backfires on Mark as Marnie is cold to any sort of sexual advances. When Mark forces himself on her during their honeymoon, in Hitchcock’s favorite scene, she attempts suicide.

Unable to understand Marnie and still fascinated by her, Mark investigates her past. He ends up bringing Marnie to her mother, Bernice. The mother and daughter have always had a frigid relationship. In one of the best climaxes in all of Hitchcock, it is revealed in stunning detail why Marnie is so cold sexually, why she and her mother express little love for each other and why she despises the color red. The atmosphere around this movie is what makes it great. Credit must be given to Robert Burks for creating the camera angles and photographing exactly what Hitchcock had in his mind when reading the novel written by Winston Graham. Credit has also got to be paid to Bernard Herrmann for his magnificent score. It was the last time the two would work together, but it is probably the best overall score Herrmann gave to Hitchcock. The Vertigo and Psycho ones stand out, but Marnie has a score that perfectly expresses through music the atmosphere on screen.

Marnie is a complex movie. I could go on for paragraphs and paragraphs about all the little interesting things contained in it, but I’ll leave you to discover that for yourself. Robin Wood, the film theorist, proclaimed that if you don’t like Marnie then you aren’t a fan of Hitchcock. Then he went a step further and said if you don’t like Marnie then you aren’t a fan of movies. I fully agree with his statements.

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Movie Review of the short poetry film “Hammer”

festreviews Amanda Lomonaco, audience feedback festival, Festival Interview, film festival, horror, Uncategorized, wildsound festival review, writing and film festival , , , , , , , ,

“Hammer” played at the WILDsound FEEDBACK Film Festival, part of its October 2015 best of horror/thriller short films from around the word event. 

First off, watch the Poetry Film NOW:

Read Movie Review of HAMMER by Amanda Lomonaco:

While Hammer lacked a lot of the excitement and action that went along with the other films of the night, I still can’t deny how interesting the concept was. Like all experimental films, there will probably be a strong love/hate split between anyone who see sthis film, but I’ve always been a big proponent of experimental filmmaking.

Pushing the boundaries of any medium is incredibly important to highlighting and understanding its limitations, as well as helping us understand our own psyche. That might seem like a bit of a snobbish reason to justify experimental films, which can be pretty snobbish themselves sometimes, but its something many people don’t consider. Our reactions to new things can teach us a lot about ourselves, and about those around us, so it can be fun sometimes to give these films a try.

The poem that is narrated in Hammer is beautiful and original on its own; taking the perspective of a murder weapon as the narrator. The pictures that acompany the narration, superimposed, blurry, and dark, help emphasize the eeriness of the words. The closeups, forced perspective, and lack of clarity of the images also highlight the narrator’s perspective as an object, rather than a living thing. The merger between both mediums enhances both mediums equally, and puts you in an interesting space, both as an audience member, and as a listener, or reader.

Here is where I admit my massive bias; I am a Halloween freak. I love horror films, gore, SPFX make-up, dressing up, getting scared, gorging on candy, all of it. Naturally, I would always be more inclined to like this kind of film, regardless of the subject matter. Of course not ALL horror films pass the test, but the uniqueness of this one stood out to me. I wouldn’t recommend this film to everyone, but if you’re a fan of the gothic, Poe, melancholic style of horror, you’ll definitely appreciate this one.

Watch the Audience FEEDBACK of HAMMER:

Movie Review of the short film “Redemption”

festreviews Amanda Lomonaco, audience feedback festival, film festival, film festival reviews, horror, Short Film Movie Review, shorts showcase, Uncategorized, wildsound festival review , , , , , , , ,

“Redemption” is a thriller/prison drama that played at the WILDsound FEEDBACK Film Festival, part of it’s best of horror/thriller short films event in October 2015. 

REDEMPTION, Australia, 7min, Thriller/Prison
Directed by Tom Vogel

A man in jail finds God and asks his son for forgiveness but is karma about to catch up with him before he can seek redemption.

Read the movie review of REDEMPTION by Amanda Lomonaco

One more point scored by the Aussies for proving that simple stage design, just a few characters, and not much equipment can still make for a good horror film. What’s more – they didn’t even pull out the fake blood! You could argue that the very fact that the cheapness of the production was noticeable makes it a bad film, but I guarantee you many a Blair Witch fan would disagree.

Most of the shots in this film were quite tight, and close-up.The wider two shots were mostly in dark spaces, where little to no background could be seen. This really drew a lot of focus on the acting, which definitely lived up to expectations. It’s a gamble to bank so much of your film on the actors themselves, but I would say Tom Vogel made some good casting calls in this case.

Vogel could have done just a tad better in the make-up department, though. Giving his main, most vicious character, what looked very obviously like a stamp-on temporary tattoo on the neck distracted a little from that character’s brutality. Everything else about the film compensates for this minor mishap, however. Particularly when that same character proceeds to kill someone in an incredibly aggressive and violent manner.

Once again the implication of violence proves more effective than the use of violence itself. It might have begun a little slowly, but Redemption‘s pace picked up quickly enough to not leave you bored or confused for too long. The finale was definitely a very satisfying climax for those of us who love vengeful justice (whether we admit to it or not). I would call this one a good film for cathartic viewing.

Movie Review of the short film “The Blood Of Love”

festreviews Amanda Lomonaco, audience feedback festival, film festival, film festival reviews, horror, Uncategorized, wildsound festival review, writing and film festival , , , , , , ,

“The Blood of Love” is a multiple award winning horror/romance short film. It won BEST FILM at the WILDsound October FEEDBACK Film Festival, part of their best of Horror Short Film event. 

THE BLOOD OF LOVE, 19min, USA, Horror/Thriller
Directed by Jeff Meyers

Unwilling to accept the death of her husband, a young widow, acquires a machine that can bring him back to her. But the machine exacts a terrible price: she must provide the blood it needs to revive her beloved. And it starts demanding more and more blood for less and less time.

Read movie review of THE BLOOD OF LOVE by Amanda Lomonaco

There are so many ways in which I loved this film, I’m afraid I won’t even be able to fit it in this review, or that I’ll even be able to describe them properly. So many elements of this film were equal parts clever, funny, creepy, & ironic. What’s best, Jeff Meyers seems to have found the all too elusive balance between telling too much or too little.

You can’t say much about The Blood of Love without revealing the whole plot line. It’s a pretty unique story in itself, but I can start by saying the best part is the end. Not the “official” end, but the end after the credits, when you think the story has finished, and then Meyers steps in with one final jab to wrap the story up a little better. In fact, both endings are funny, and I would have felt satisfied regardless of which one I had viewed, which is a rarity in and of itself.

The one pitfall of the film that I would have to point out is the lack of chemistry between the two characters. While their acting was great, and the scripting was all very natural, everytime I saw things get a little more sexually charged between them I wanted to cringe just a little. Don’t get me wrong, it wasn’t awful, I might just be nitpicky with this one, but I definitely got the sense that, despite their talent, those two people did NOT want to be kissing each other.

Somehow none of that ruined the film for me. I’m not sure if I should thank the editor for minimizing the instances of intimacy between the two main characters, or if that was simply a directorial choice from the get-go. Nevertheless I never felt at any point like the story was lacking. It was always fun, it was always entertaining, it kept me wanting to see more, and yet when it was over, I was sufficiently satisfied. I always say a good short film leaves you wanting more, but this is one of the few cases where I will say, at 20 minutes, The Blood of Love was about the perfect length.

Don’t expect too much from this one if you’re all about guts and glory, but if you’re a fan of clever plotlines with a healthy dose of irony, give this one a go. Even if you don’t enjoy your average, everyday horror film, I’m sure you’ll get a kick out of this one. Meyers definitely seems to have found a little bit of something to please all audiences.

Watch the Audience FEEDBACK Video of THE BLOOD OF LOVE:

Movie Review of the short film “Blood Tower Enigma”

festreviews Amanda Lomonaco, audience feedback festival, film festival reviews, horror, Uncategorized, wildsound festival review, writing and film festival , , , , ,

“Blood Tower Enigma” played at the WILDsound FEEDBACK Film Festival in October 2015, part of its best of horror/thriller short film lineup.

BELL TOWER ENIGMA, 10min, UK, Horror/Mystery
Directed by Daniel Reimer

The every-day routine of a Sexton is suddenly interrupted, when a mysterious phone ringing not only draws him deeper into the church, but also into hidden memories of his mind. As he follows the calling of his conscience he unveils his past and discovers the path of redemption that he ultimately must go in order to escape his torturing nightmares.

BELL TOWER ENIGMA Movie Review by Amanda Lomonaco

I have to be honest, my first reaction to this one was a big fat NO. It was odd, disjointed, and a little too artsy for my taste. But weirdly, as I recollect it, I find myself smiling at some of the imagery depicted by Reimer (no, not THAT Reimer, I mean the director).

Something about the architecture of old gothic style churches makes them the perfect setting for any thriller. Being equal parts beautiful and ominous, they lure us in and but somehow still keep us on our toes and make the hairs at the back of our neck stand on end. I like to think that it was this very knowledge that led Daniel Reimer to chose a church as his prime location for this film.

By blurring the lines of continuity, and using a blend of surreal images, Bell Tower Engima comes across as more of a distrubing nightmare than a realistic story, perfect for any horror film lover. When the cinema lights come back on you’re not quite sure what it is you’ve just experienced, but there are certainly a couple of prickles on your skin, much like waking up from a scary dream. Perhaps Nightmare on Elm Street could have learned a thing or two from this short.

I can’t declare that Bell Tower Enigma is amazing, or that I even managed to grasp its full meaning, but there is something to be said about a film that unexpectedly causes you to smile as you recall it. Those of you who enjoy a gentle feeling of disturbance to go along with your films should certainly give it a try. On the other hand I wouldn’t necessarily recommend this for those of you who need blood and guts in your horror films.

Watch the Audience FEEDBACK for BLOOD TOWER ENIGMA:

Movie Review of the short film “Submerged”

festreviews Amanda Lomonaco, audience feedback festival, film festival, film festival reviews, horror, Uncategorized, writing and film festival , , , , , , ,

“Submerged” played at the WILDsound FEEDBACK Film Festival in October 2015, part of its best of horror/thriller short film lineup. It received rave reviews from the audience winning two awards: Best Overall Performance and Best Original Score.

SUBMERGED, 15min, UK, Haunting/Romance
Directed by Darren Mapletoft

When a teleportation experiment goes wrong, submariner Billy Bourne finds his crewmates have all disappeared. Determined to dance with his ‘Baby’ again, he faces a race against time to make his own escape.

SUBMERGED Movie Review by Amanda Lomonaco

WARNING! DO NOT watch this film if you are claustrophobic. I am only very minimally scared of cramped spaces but I am TERRIFIED of being buried alive, and of course this film brought out both those elements together perfectly. Again, as a lover of horror, mystery, thriller, and all things Halloween-esque, I was still able to throroughly enjoy this flick despite my continuous sense of discomfort. In fact I suspect it was Darren Mapletoft’s ability to make me feel so thoroughly uncomfortable that made me enjoy the film so much.

The great thing about the cinema is that it allows us to feel things that we would otherwise never experience in our daily lives. It allows us to embody someone else’s experience if only for a few minutes, and escape from our own world in the safety of the theathre’s seats. Even if what we experience is a series of negative emotions, when it’s all over you come out of it just a little more grateful for your own life, and appreciative of the fact that it’s not half so bad as what you just felt.

Submerged was definitely one of those experiences. One commentator described perfectly the feeling that throughout the film you felt like you were gasping for air. As the oxygen began to run out in the submarine I felt my throat constricting and found myself involuntarily conserving my breaths.

The story itself is quite beautiful, and you spend the entirely short cheering for the young couple, hoping that they’ll find each other again. Some people were a little confused by the ending, but most felt that they enjoyed the fact that it was somehow both open ended and finite. You could draw your own conclusion from it, and it was somehow still satisfying enough that you weren’t left too confused, or overly skeptical.

Submerged was a fantastic way for WILDSound to finish its October line-up, and if nothing else it certainly helped increase my lung capacity. Those averse to soppy love stories, science fiction, tight enclose spaces, or being buried alive, may not quite enjoy this film as throroughly as I did. Then again, maybe you’re a bit of a lunatic like me and enjoy suffering for the purpose of your own entertainment. Give it a try, you might learn something new about yourself.

Watch the Audience FEEDBACK for SUBMERGED:

Movie Review of the Short Film “A Peaceful Man”

festreviews Amanda Lomonaco, audience feedback festival, film festival, film festival reviews, horror, Short Film Movie Review, shorts showcase, Uncategorized, wildsound festival review, writing and film festival , , , , , , ,

“A Peaceful Man” played at the best of Thriller/Horror short film festival in October 2015, as part of the WILDsound FEEDBACK Monthly Film Festival. It was the winner of Best Cinematography in a short film.  

Australia, 4min, Action/Thriller
Directed by Harrison Norris

Beaten within an inch of his life, a peaceful man has a gruesome epiphany through violence.

Learn more about this short film HERE

A Peaceful Man Review by Amanda Lomonaco

All of us are capable of violence and cruelty under extreme circumstances. At least that’s what Harrison Norris, director of A Peaceful Man, wants to convince us of in his gory short film. His bloody, cringe-worthy, gory close-ups might distract you from that message a little though, or at least it will distract you from the voice-over narrative.

I’m not saying this movie is bad, in fact this was one of my favourite films of the night. What I really mean, is that the cinematography in this film was so brilliant that it almost overshadowed everything else about it. I would venture a guess that the cringes and gasps coming from the rest of the audience indicated they may have agreed with me. Even the special effects didn’t even have to be that great to appreciate this flick, although they were certainly impressive. The very thought of the level of violence being implied in the film was enough to make people curl up in their chairs and look away.

That, to me, is effective filmmaking. Making your audience feel something and react to the very idea of what is being depicted on screen. Even though I’ll admit to only paying attention to half of the spoken narrative in the film, I feel that Norris reserved the most important bits of monologue to the least impactful visual moments. I was able to still understand the gist of everything the narrator was saying while still being able to enjoy the bloody wonder that was being paraded in front of me.

I think Norris makes some really good points in his film. The level of gore and violence simply emphasized how far all of us can be pushed, or in fact need to be pushed, in order to reciprocate with the same level of anger. When it comes to survival, we are all animals, we all have to follow our instincts, and we will all defend ourselves, even if that self-defense involves something we would never imagine ourselves doing. That’s where Norris’ images almost don’t need a narrative. If you simply consider the film’s title, and then focus on the images and how they make you feel, you’ll probably catch on pretty quickly.

By now you’ll have realized that you should not watch this movie if you have a sensitive stomach. On the other hand, if you’re a crazy lover of guts and gore like me, this film should be mandatory viewing. Norris’ cinematographer deserves an award, and  would happily volunteer to make one for him.

Watch the Audience FEEDBACK Video of A PEACEFUL MAN:

Watch MURDER Stories from the Film & Writing Festival

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Watch winning stories and movies showcased at the Writing and Film Festival in the MURDER genre: Short, Feature, TV Screenplays. Short Stories. Novels. Stage Plays. Poems. Stories from festival made into movies: http://www.wildsoundfestival.com/murder_stories.html

Watch the best of stories and film with a murder plot from the festival:

AWAKE TO MURDER – Stage Play
September 2014 Reading
Written by Reece Pocock
http://www.wildsoundfestival.com/awake_to_murder.html

NOVEL READING – From PRISONER PRODIGAL PAWN
November 2014 Reading
Written by Robert J. Sparkman
http://www.wildsoundfestival.com/balloon_chase_scene.html

1ST SCENE SCRIPT – NIGHTDOVES
September 2014 Reading
Written by Matthew J. Lloyd
http://www.wildsoundfestival.com/nightdoves.html

SCREAMWRITER – Short Script
May 2014 Reading
Written by Lee Forgang
http://www.wildsoundfestival.com/screamwriter.html

TV PILOT – FAUST
April 2015 Reading
Written by Niel Thompson
http://www.wildsoundfestival.com/faust.html

Short Script: HONOR AMONG THIEVES
May 2015 Reading
Written by Nat & Digs Palazzo
http://www.wildsoundfestival.com/honor_among_thieves.html

THE HOPPER Short Film
WATCH Audience FEEDBACK
http://www.wildsoundfestival.com/the_hopper.html
Animation, Germany

FAMILIAR Short Film
WATCH Audience FEEDBACK
http://www.wildsoundfestival.com/familiar.html
Horror, Canada

FOUND FOOTAGE Short Film
WATCH Audience FEEDBACK Video
http://www.wildsoundfestival.com/found_footage.html
Drama, Canada

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Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month: http://www.wildsoundfestival.com