After having to cancel last year’s Winter Ghosts due to our old friend Covid-19 we are pulling out all the stops to ensure this year’s event is a sumptuous feast for the eyes and ears. This year’s event features the usual selection of talks and music as well as some pretty exciting performances, that we’re keeping a little bit under wraps for the time being, as well as a classic film that we will be unveiling in the very near future.
As many of us are based in wyrm country, up in the North East we have chosen a cryptid theme to this year’s event. So, expect to be regaled with tales of dragons, serpents and sea monsters.
Anyway, without further ado, here is our first lineup announcement. We are keeping all the juicy details close to our chests for now, but we wanted to share with you the supremely talented individuals who will be set to entertain you across the weekend of November 27th and 28th.
First up on the speaker list is an old friend of Folk Horror Revival, Dr Sarah Caldwell Steele – proprietor of The Ebor Jetworks, Gemologist, jewellery designer and expert in all things Jet. Sarah will be presenting a fascinating new talk for us.
The Shrouded Republic is a performance piece inspired by Rev. Robert Kirk of Aberfoyle author of “The Secret Commonwealth of Elves, Fauns and Fairies: A Study in Folklore and Psychical Research” and brings together once again the team that were responsible for the rather wonderful Leasungspell. Led by poet and author Bob Beagrie this promises to be a fascinating piece that needs to be seen.
Up next is Dr David. R Rowe or “Doc” for short. Doc Rowe is an archivist and collector, who has been recording and filming cultural tradition and vernacular arts, folklore, song and dance of Britain and Ireland since the 1960s. His collection currently represents the most extensive collection of audio and video material to celebrate the variety and richness of traditional folk culture of these islands. We look forward to revealing more details about his talk.
We are also incredibly proud to announce that Richard Freeman – Cryptozoologist, writer of both fiction and non-fiction and one of the world’s leading experts on all things Dragon will be joining us to present a talk on what lies behind the dragon legends and is there a possibility that these were more than just folklore?
We are also joined by The Hazelsong Theatre, whose work is rooted in the songs, stories, myth and folklore of the North and the Borderlands and the many cultures that have made the North their home. Hazelsong creates performances which bring together music, storytelling, puppetry and theatre borne of the knowledge that these stories and songs are very much alive. For us they will be presenting a talk on John McKinnell with a vaguely tame wyrm or two in attendance.
Evening Music Lineup
Our evening musical lineup is also very strong and features some of the most interesting performers working within the field today.
Folk Horror Revival are really pleased to be working with one of the brightest new lights in electronic music, Everyday Dust. Everyday Dust is a producer based in Scotland, who uses analogue synthesizers, effects and tape machines to create his own unique narrative-driven music. His most recent album for Castles in Space records, Black Water is a deeply immersive electronic album of sonar explorations which celebrate the ongoing search for the creature at large in Loch Ness. We think you’ll love what could well turn out to be his debut live performance.
Nathalie Stern and the Noizechoir are local legends in the Newcastle music scene, mixing drones and lush harmonised vocals Nathalie and the choir perform music to invoke elder gods to. Why not have a listen to last year’s Nerves and Skin album by Nathalie, that should give you an idea of what to expect from what is a hotly anticipated set.
Our final musical act are darkwave and industrial legends Attrition, after more than 40 years of producing interesting dark electronic music they remain as strong as ever, continually adapting and honing their sound, the group led by Martin Bowes remain at the cutting edge of modern day electronica and remain as influential on today’s artists as they ever have. We are very excited to see what they have in store for us at Winter Ghosts.
Ok that’s almost it, apart from one more artist, a super-secret film screening that we will be announcing in the not-too-distant future, and the relaxed Sunday lineup that is also coming soon. I hope that has whetted your appetite for this year’s Winter Ghosts. Tickets are available now from our Eventbrite page below priced at a modest £13 for the whole weekend. We hope to see many of you there.
Having previously reviewed John Towlson’s wonderful Candyman monograph from the Devil’s Advocates series from Auteur books, I was delighted to receive another two books from the collection with some serious folk horror credentials. The books in question are David Evans-Powell’s monograph of The Blood on Satan’s Claw and Brandon Grafius’ treatment on The Witch.
The Devil’s Advocates range is aimed at exploring the classics of horror cinema, and the contributors are generally firmly entrenched in that world via careers in academia, journalism or through their own contributions to the literature of horror. What is evident from the very beginning is that those who have been asked to write these books are passionate and knowledgeable about their subject matter and whilst the books have a certain academic quality to the writing they are never overly wordy or impenetrable.
The Blood on Satan’s Claw by David Evans-Powell
One of the unholy triumvirate of films that are deemed the very cornerstones of the Folk Horror movement, Blood on Satan’s Claw (1971) is a supernatural horror movie set in a small rural English village in the 18th century. After the discovery of a sinister looking skull in a freshly ploughed field, a series of bizarre occurrences take place among the village’s young people culminating in a ritual rape and human sacrifice. In recent years the film has become a classic of the Folk Horror genre and David Evans-Powell’s monograph is a thorough and interesting delve into the film’s history, looking at its position within the Folk Horror oeuvre, its relationship to the landscape and nature, and its socio-political message, particularly its relationship to the late 60s and early 70s counterculture.
The book is divided up into series of different sections, the first provides a brief synopsis of the film and an introduction that places the film within the context of the time it was made, and in relation to other films of the time. The next section looks at the film’s production and reception, this introduces the reader to some of the key figures involved in making Blood on Satan’s Claw such a runaway success. There are sub-sections on cinematographer Dick Bush, director Piers Haggard, composer/musician Marc Wilkinson and screenwriter Robert Wynne-Simmons, as well as the film’s production that provide a lot of valuable information about the film’s genesis and how it all came together. The next couple of sections deal with the importance of the landscape and how it is used in the film, as well as looking at nature and the way the setting juxtaposes the simple superstition of the rural setting with that of the rational, enlightened city (London).
Beyond that Evans-Powell delves into ideas about a past the refuses to be forgotten, the concept of “reviving forgotten horrors” to paraphrase the great Patrick Wymark in his role as the judge. This section is interesting and provides some fascinating and detailed discussion of our pagan past. The final section is called Anarchy in the UK and features a fairly in-depth discussion of the film’s relationship to the counter-culture movement of the 60s and 70s, particularly the darker side of that movement with a focus on the Manson murders and English child murderer Mary Bell.
Evans-Powell has written a powerful and fascinating monograph that is very readable. He manages to cram a lot of intriguing detail into such a short book yet it never feels as though the reader is overloaded with information, and it always feels relevant and interesting.
The Witch by Brandon Grafius
The second of our two books is a monograph based around the Robert Eggars film The Witch. Much like Blood on Satan’s Claw the film has become synonymous with the Folk Horror movement and has achieved a similar status as a classic of the genre. If Blood on Satan’s Claw, The Wicker Man and Witchfinder General are the classic unholy triumvirate, The Witch is one of the titles that fits the bill as their modern equivalent, alongside films like Kill List, November, In the Earth and Midsommar it sits at the forefront of the Folk Horror revival.
Brandon Grafius is a Professor of Biblical studies at the Ecumenical Theological Seminary in Detroit, and is well noted for his writing on the subject of religion and horror. The book is heavy on facts and Grafius provides some tremendous background information about the time in which the film is set. Eggars himself spent an inordinate amount of time and energy on researching the period in order to bring the film a realness. Grafius does much the same for the study of the film, and after delving into New England’s puritan past and considering the context of the witch trials that took place in the late 17th century, he takes the reader on a whistle stop journey through the realms of literature, cinema and folklore in order to place The Witch within the context of what we call folk horror. The sections on The Witch as folk horror and the folklore associated with the film and witchcraft in general are excellent, well researched and kept me hooked in. These are followed by a section discussing the film’s main characters, that features some interesting analysis of not only the family and their flawed existence but even Black Philip himself.
Much like Evans-Powell’s Blood on Satan’s Claw, The Witch is a well-researched and beautifully written monograph that provides a fascinating and in-depth study of a classic film in around a hundred pages. As with the previously reviewed Candyman it has be said that Auteur have really come up trumps with this wonderful series of short monographs looking at the classics of horror cinema. I have already started to build a list of the other titles in the series that I need to check out.
In the 21st Century Folk Horror Revival, several names keep coming to the fore, among those are the partnership of British film director Ben Wheatley and screenwriter Amy Jump. Together they have previously brought us the new wave of folk horror gems Kill List (2011) and A Field in England (2013) as well as the tangentially associated Sightseers (2012) – a darkly humourous film that is akin to Mike Leigh’s classic 1976 BBC play Nuts in May but on PCP. In the years between then and now Wheatley and Jump have ventured into the world of the Urban Wyrd with their adaptation of JG Ballard’s High Rise (2015) as well as working separately on a variety of works.
When rumours began to be whispered around that Wheatley was returning to the old pastures of pastoral terror, the ears of folk horror folk began to prick up. Then the trailer dropped for In The Earth with its flashing psychedelic images, discordant noise, glimpses of folksy woodcut art and a monolith that hearkens back to the cult ‘children’s’ book and TV series of Alan Garner’s The Owl Service. The tag line of the trailer invitites us to go on a Trip with Ben Wheatley and why the Hell not? I’m up for that. https://youtu.be/3Lqkfo7IymU
And so it must be assumed that Mr Wheatley may have a fascination for hallucinogenic mushrooms as they play a part in his alchemical civil war drama A Field in England and play a greater role in In the Earth. The premise of the film sees Dr Martin Lowery (Joel Fry) venture out from a state of quarantine imposed upon urban areas due to an unspecified viral pandemic to a research facility in a forest in the south west of England. The shadow of the pandemic is not only cast over the health and safety measures Martin must undertake and the scientific research prevalent in such times but it also manifests in the social awkwardness and behaviour of folks who live in conditions of isolation and distance. Martin as such is a non-typical protagonist, he is not some confident self-assured doctor-come-hero of numerous horror and sci-fi films but a quiet, anxious individual. In seeking out his ex-lover and scientific partner Dr Olivia Wendle (Hayley Squires), who is researching the mycorrhizal (symbiotic relationship between fungi and plants) network beneath the forest which has a higher than normal soil fertility, Martin is assigned the trekking assistance of a woodland ranger named Alma (Ellora Torchia). Before setting off into the woods, seeing a large woodcut artwork upon the wall of the cabin recommissioned as a research base, Alma informs Martin about the local lore and belief in a sylvan spirit named Parnag Fegg.
Whilst camping in the woods, the pair are subjected to a nocturnal attack by an unseen assailant. They are not badly hurt but the attacker has stolen their shoes, making an already precarious journey more troubled still. This is darkened further by Martin tearing the sole of his foot open upon sharp terrain. All is not lost however as a bedraggled man Zach who lives and works as an artist in the woods, approaches them and offers them food, drink, shelter and footwear. he even stitches up Martin’s wound. This rudimentary arboreal operation is one of several scenes where gore and the ‘ouch-factor’ comes into play. As with Kill List, Wheatley and Jump’s ‘Arthurian’ gangster movie (it is much better than that description sounds) violence and injury are graphically depicted in In The Earth. However as may not be totally unexpected there is more to Zach and his art than may first appear.
After a brutal hallucinogenic nightmare unfolds, Martin and Alma against all odds reach the research camp of Dr Olivia Wendle, whom it transpires her study has progressed beyond soil fertility and is also trying to reach the ‘consciousness’ of the mycorhizzal mat – the spirit of the earth. Though she is attempting to invoke an animistic presence through science (utilising sound and light – which significantly shapes the aesthetic of core sections of the movie) rather than art like Zach, her practices are ritualistic and it becomes apparent that her and Zach are perhaps estranged but are not strangers to each other.
Sound and image are very important factors of the film as can be seen from the Art and Sound department’s roll call of talent which reads as a folk horror revivalist / hauntologist’s dream – Richard Well’s woodcuts, Julian House’s credits sequence, camera work & cinematography by Nick Gillespie and musical / soundscape composition by Clint Mansell. One scene that will likely live on in future discussion of Wheatley’s work alongside the culminating ritual of Kill List and the magic mushroom sequence in A Field in England, is the passing of a hazmat suited Alma into a mist of fungal spores. The image of her affixed to a rope is reminiscent of the tent scene in a Field in England and both have a symbolic resonance of an emerging child still attached to the umbilical cord suggesting a birth or rebirth. It must be noted however that any viewer who may experience seizures when exposed to flashing lights or certain sound wavelengths should proceed with great care if at all, for numerous segments of the film are something of a sonic and stroboscopic assault.
But is it all style over substance? Not quite, but I do feel that the film would have benefited from greater input into the writing from Amy Jump (whose role on this film is given as a Producer credit) and /or a longer period of time taken by Wheatley on the plot development (he only spent 15 days on the script-writing). This is particularly pertinent to the ending which could in my mind have been both stronger and stranger. Part of both Kill List and A Field in England’s strength (though it would annoy some viewers) is the ambiguity. Too much yet oddly maybe not enough is revealed with In the Earth. Much of the plot is quite predictable and follows a familiar enough path. It would have been better perhaps to follow wander lines and go further into the abstract and see where the film would end up.
However this is a film made in strange times under different conditions. It will be noted in future as a work that was seeded, grown and bloomed in the days of the Covid19 plague. It offers further reading potential in that area and it has to be said that it does deliver scenes of both weird (and wyrd) beauty as well as brutality. The characteristics and dynamics of the characters are a bit off the beaten track which is interesting however and Shearsmith is particularly sharp casting. The shows The League of Gentlemen and Inside No 9 display his versatility and his role of Zach is the most interesting in the film, though at times the visuals portraying him are suggestive of The Shining’s Jack Torrence escaping into the wild.
In conclusion, I liked In the Earth and with subsequent viewings I feel my appreciation for it could possibly grow more, but I would have liked more in terms of plot development which prevented me from experiencing love at first sight. But certainly it is an intriguing and welcome addition to both Wheatley’s oeuvre and the folk horror canon. I imagine though that it will be a film that divides audiences.
When I read fiction, my mind’s eye tends to play out the unfolding narrative as a film. In the case of Lucie McKnight Hardy’s novel ‘Water Shall Refuse Them’ the setting and style adapted itself on the cinema screen behind my eyelids in the manner of a 1970s Play For Today or similar. That is far from a criticism – BBC plays such as Nuts in May, Brimstone and Treacle, Our Day Out, Blue Remembered Hills, Red Shift, Abigail’s Party and Penda’s Fen are high water-marks of British telly.
Anyway like Ronnie Corbett, I digress. Hardy’s debut novel concerns itself with a married couple, their teenage daughter and their mentally impaired infant son taking a holiday at a rural Welsh cottage in the bid to try and deal with the aftermath and trauma of a family tragedy. They discover that the locals are not exactly the most welcoming or friendliest bunch and instead find solidarity with a teenage boy and his mother, who also being incomers to the village are not held on the best terms by the parochial families either. Indeed the mother Janet is regarded as a witch by the villagers; an accusation she does little to dispel.
Her son Mally develops a close and strangely bonded relationship with Nif, the 16 year old daughter of the troubled family vacationing in the Welsh valley and protagonist of the book. Nif is an individualist who is governed by her own rituals and way of seeing. In discussion about the book on a Twitter post, the author Dr Miranda Corcoran drew a comparison between Hardy’s debut and Shirley Jackson’s classic novel We Have Always Lived in the Castle. For me these are big footsteps for it to walk in as We Have Always Lived in the Castle is one of my favourite novels. I can see the parallels between the works and furthermore without giving too much of the plot away, I think comparisons could also be drawn with that other fine example of Dark Americana /American Wyrd – Thomas Tryon’s The Other. Water Shall Refuse Them does however have a very British personality.
One of the points of comparison between Hardy’s and Jackson’s novels is the presence of an unconventional and troubled young woman as narrator and therein lies a personal feeling and also intriguing topic of thought in that whilst I like Jackson’s protagonist Merricat Blackwood, I just don’t like Nif. Yes she is an intriguing well-written character but I don’t warm to her at all. But do I need to like the main personality to read the book and enjoy it? Or any book? I think personally the answer is sometimes. For instance, I gave up on reading Stephen King’s Gerald’s Game quite soon into it as I disliked the protagonist and her husband so much. In the realm of film really disliking the central family in Hereditary and the child in The Babbadook are part (not the whole) of the reason I don’t like those films much at all. But then again I did not like the principal characters in The Killing of a Sacred Deer, The Blair Witch Project, Eyes Wide Shut or Misery (book and film) yet I appreciate those works overall more. Does it matter if you don’t like the characters who you will spend much time with? They don’t have to be likeable for a work to be a success – Patrick Bateman in Bret Easton Ellis’ American Psycho is a prime example of that.
As Water Shall Refuse Them progresses I like Nif less and less. I don’t know if that is a matter of concern with Hardy, whether it is of any importance to her whether the reader likes her main character as a person. And it could just be me – other readers may feel sympathy or empathy towards Nif, but she leaves me cold from the offset. It could be the case that that she is meant to. As the story develops, without saying too much, Nif (and in some instances Mally, whom I never warmed to either) do some rather unpleasant things; so it is perhaps an intention of Hardy for the reader to question how they feel about chief characters instead of just easily slipping into a comfortable synch with them.
In regard to Nif’s actions, as someone who has immersed themselves in ‘horror’ fiction since a child it is possible to become numbed or desensitized to all manner of fiendish happenings, but there are scenes in the novel that did leave me feeling disturbed. This is a credit to Hardy’s writing as these scenes are generally quite underplayed, there is no great crescendo of gore but subtlety delivered, small yet in their way powerfully resonant occurrences that get under the skin. These traits do foreshadow the great reveal, which is not the most unexpected (though I do tend whilst reading fiction or watching films automatically ponder how I would end the narrative were I the writer of it , so do quite frequently see the ‘twist’ coming and wonder if my mind were wired differently would more fiction catch me off-guard) but the resolution of the end happenings does however throw in another swerve ball.
It is not my place nor intention to issue ‘trigger warnings’, but it must be noted that some scenes may especially upset some readers and perhaps provoke them to ask whether they were necessary or at least whether they needed to have occurred several times. That is not a question for me to answer but perhaps for the author to address and certainly for individual readers to make their own judgement upon.
So these points have caused me to mull over the book and would have even if I were not writing a review of it, so it did get under my skin and that is a credit to it. Did I like it? That I need to think over more – I didn’t dislike it, of that I’m sure. I would read it again and I don’t say that of all novels. But it is one that I will need to contemplate more as to my deeper, long-lasting impression of it. Is it a good book either way? Yes I think it is; it is a intriguing debut that makes me curious to investigate Hardy’s future works, so that’s a job well done there. It is a book that reminds me somewhat of some of Benjamin Myer’s novels – scenarios which are simple but effective and hold some moments of strong, sometimes brutal or harrowing but not overworked significance. aving grief, loss and trauma at its heart it also is reminiscent of Will McClean’s The Apparition Phase (recently reviewed on this website Here ). The themes unearthed in Water Shall Refuse them are pertinent to the bucolic uncanny and it is a worthy addition to the folk horror fiction shelf, though because of events described within may indeed be contentious with some readers.
Water Shall Refuse Them by Lucie McKnight Hardy is available to purchase from HERE and other book stores.
To discover more about the writing of Lucie McKnight Hardy visit HERE
The Psychic Audio Group are a collective of paranormal investigators and music technologists based in Leeds who generate audio based around hauntings, drawing inspiration from Nigel Kneale’s ‘The Stone Tape’ they reconfigured their equipment to generate noise, producing some remarkable psychic feedback when installed at certain haunted locations. Here we review their three recordings thus far released.
Collected Recordings of the Psychic Audio Group, Volume 1
The first release of the Psychic Audio Group, features 11 tracks of suitably wyrd phonics, mixing ambient drones with glitchy off kilter electronics, field recordings and found sounds. I really enjoyed this one, there’s a level of dread filled intensity about the recording that verges on audial assault, and the whole thing has a sinister blackened noise vibe to it. Links to Nigel Kneale’s ‘The Stone Tape’ and EVP just add to the creepiness of the project. I guarantee this will go down a storm with Revivalists everywhere. This is highly recommended for fans of John Carpenter, Haxan Cloak, Burial Hex, Demdike Stare and the Nate Young (Wolf Eyes) and Steven Kenney (Werewolves) project Demons.
Also worth mentioning is the accompanying video, featuring the same sequences of audio as used in the album, but coupled with visuals from the recording sessions.
Sea of Ink
Sea of Ink is a stand alone track recorded during the sessions for their second album. What we get is more of the same glitchy electronic drones and sinister sounding atmospherics as the debut album. A work of creepy excellence.
The Collected Recordings of the Psychic Audio Group, Volume 2: Eycheil
The third release and second full length album from the Psychic Audio Group is an absolute doozy from start to finish. Recorded entirely on location at the Theatre Eycheil in the foothills of the French Pyrenees, with each track concieved in relation to the atmosphere of the site, and boy what an atmosphere it must have as this is off the scale for creepiness.
The album features 7 tracks of more of the same, but once again it excels at what it does. Darkly atmospheric electronic noise that recalls some of the most sinister music ever placed on vinyl. Nighmarish and disquieting, the whole thing has a deeply malefic aura about it. If someone were to ever remake John Hough’s 1973 supernatual tour de force ‘The Legend of Hell House’ these guys should record the soundtrack.
Duo Joanne and Andrew Walker have been busy over the last twelve months with three separate releases to tempt Revivalists.
First up was the Foretold E.P. which was released in April . I was lucky enough to receive a physical copy of the limited edition CD, one of only 78 copies released. The album is beautifully packaged, featuring some lovely artwork from Joanna herself. As you can see from the photograph below it is obviously designed to fit perfectly with the stories of the songs, which is something I really love about it. Alongside the fantastic cover art we are treated to some really nice little extras, stickers, a badge and a tarot card, the Ace of Wands in my case. This is a great card to receive in this instance as it represents creativity, passion and enthusiasm, all things that are abundant in this release.
This, their debut release is also sonically very good, and features 5 tracks of glitchy electronic folk infused with their love of traditional British folklore and the esoteric. The mix of traditional and modern instrumentation works really well and one can’t help but hear the influence of the likes of Current 93 rising to the fore every now and again, however it must be noted that they do possess enough of their own sound to keep it from turning into a pastiche. Overall, Foretold is an excellent debut release and one the duo can be very proud of.
Two Songs for the Summer Solstice
This was a two track single released to coincide with the Summer Solstice, on 20th June. Both tracks were heavily inspired by previous solstice celebrations that took place at Stonehenge and Avebury, and were a reaction to the current situation with regards to the Covid-19 lockdown, and the fact those sites were not accessible during the 2020 solstice.
‘To the Day’ represents the duo’s fond remembrance of past solstices, whilst Midsummer’s Dream entwines their own song with the fairy’s poem from the beginning of ‘A Midsummer Night’s Dream’. Both tracks take the listener down a tangled acid folk drenched pathway that winds its way through the British countryside. This is a perfect midsummer release.
Wolf Moon E.P.
Released at the death of 2020, Wolf Man is a three track E.P. that the duo began composing under the wolf moon, the first full moon of 2020.
Opener, ‘Wolf Moon’ is a spoken word track that again mixes traditional instrumentation and modern technology, perfectly capturing the mood of the piece. This is followed up by ‘Cold Moon’ an instrumental with its feets firmly planted in ambient electronics. Beautiful and atmospheric, the track is perfect for laid back listening sessions. The final track is a remix of ‘Wolf Moon’ by Grey, it’s a fascinating amalagamation of drum and bass and ambient electronica that works really well. The band themselves have labelled the track ‘dub folk horror’ and who am I to argue?
All of their work can be heard and bought from their bandcamp page at:
Want to avoid Mrs Brown’s Boys, The Queen’s Speech and whatever else TV throws at us this Christmastide? Of course there’s the great Ghost Stories for Christmas drama series and re-watching childhood favourites such as The Box of Delights but here we take the snow shovel and dig up some other possible additions for your alternative winter watching on the cold dark nights …
The White Reindeer (1952)
Original title – Valkoinen Peura. Directed by Erik Blomberg, this Finn classic concerns itself with a newlywed woman Pirita (played by Mirjami Kuosmanen) who visits a local Sami Shaman for help in spicing up her love-life. The spell cast indeed turns the woman not only into a seductress – but into a true femme-fatale as she now has a vampiric hunger. The White Reindeer’s star has shone brighter again in the advent of the folk horror revival yet this beautiful dark tale deserves to be seen more widely still.
The Curse of the Cat People (1944)
Directed by Robert Wise and Gunther von Fritsch, The Curse of the Cat People is a sequel to 1942’s Cat People, though it can be watched in isolation as the film differs quite differently from its predecessor (which is certainly well worth a watch also). Less of a ‘horror’ than its antecedent, Curse centres on Amy (Ann Carter) the 6 year old daughter of Ollie Reed (Kent Smith). Amy is a dreamy child who finds herself different and therefore somewhat alienated by her peers. In her solitude she finds an ‘imaginary friend’ who just happens to be the late first wife of her strict and rather arrogant father. In addition to Irena (Simone Simon) – the ghost or daydream first wife and cat person (although cats do not feature in this film), Amy also befriends an old woman – a reclusive former actress with dementia, much to the envy and upset of the woman’s own daughter.
Морозко (Father Frost / Jack Frost) (1964)
Directed by Aleksandr Rou, Morozko or Father Frost is based on Russian folk and fairy tales and follows the trope of a young girl, Nastenka (Natalya Sedykh) who on the cusp of coming of age is ill-treated by a mean and jealous stepmother. Meeting a potential suitor Ivan (Eduard Izotov) doesn’t exactly bode well when a spell turns Ivan’s head into that of a bear. (Looking like a surreal, mangy version of Bungle from British kid’s show Rainbow is one of the reasons this children’s film ends up on a darker film list as it is potential nightmare fuel for some). Folkloric figures such as Morozko – a Russian winter spirit who has traits of both Father Christmas and Jack Frost and witchy favourite Baba Yaga also serve to make this film a weird watch.
Wind Chill (2007)
Directed by Gregory Jacobs. When a university student accepts a car share lift at the start of the Christmas holidays she soon realises that the driver is not exactly whom he claims to be, yet as they are driven off the road in a remote area in sub-zero conditions there is more still to worry about as both the present and the past threaten to claim their lives.
Directed by Masaki Kobayashi and based upon Japanese ghost stories and folk-tales collected and translated by the folklorist Lafcadio Hearn is a classic of Japanese cinema. Though the whole portmanteau film is a visual delight, it is the Yuki-Onna tale that most concerns us here today. In this segment two men are caught out in a winter blizzard and seek refuge in a fisherman’s hut. During the night, their shelter is violated by a beautiful yet deadly woman of the snow. One man loses his life but their supernatural assailant takes pity on the other due to his youth and good looks. She warns him never to speak of what happened that night, but his life remains haunted by the strange encounter.
The Fearless Vampire Killers (1967)
Also known as Dance of the Vampires and Pardon Me, But Your Teeth are in My Neck is directed and co-written by and stars Roman Polanski. Polanski is understandably and justifiably a difficult figure due to the crimes he has committed in his off screen life. Whether to divorce art from artist or to bypass the work of contentious or criminal figures is a personal choice, but within the realm of film it is a case that the output is a communal effort of many members of crew and cast. And together they have produced a strange addition to the many Vampire films out there. Set in the dead of winter, this comedy -horror film has the look and feel of Slavic fairy-tale cinema and has a great soundtrack by Krystof Komeda. It is notable also for starring Sharon Tate – the former wife of Polanski and tragic victim of the Manson Family Murders.
Troll Hunter / Trolljegeren (2010)
Directed by André Øvredal, the Norwegian found-footage / mockumentary telling the tale of a young film crew investigating a man (Otto Jespersen) whose occupation is that of a Troll Hunter sounds like it could be a disaster but it is actually well worth giving a chance to. It is a fun atmospheric jaunt into an aspect of horror folklore that is generally less widely explored in cinema than other monsters. And in the final segment you can almost feel the cold.
Directed by Antonia Bird and set in the Sierra Nevada in the 19th Century, we witness both the hard conditions of weather and war that may set a person on a desperate path but also we see the unfolding of a supernatural curse. Seeking inspiration from such tragic real historical events such as the Donner Party migration and the folklore of first nations people, Ravenous shows us what happens when people become afflicted with the curse of Wendigo-possession.
Though November may technically be regarded as autumn, this Estonian film is cold and dark enough to make our winter watch-list. Directed by Rainer Sarnet, November tells the tale of a 19th Century Estonian village that is beset by spirits of pestilence. In a bid to survive the harsh conditions, villagers turn to theft involving nefarious and esoteric means but it becomes an obsession outweighing their needs and no good can come of that. November boasts some especially stunning cinematography.
The Lodge (2019)
Directed by Veronika Franz and Severin Fiala and produced by the revived Hammer studios, The Lodge in keeping with Hammer’s revival has no resembelance to their campy gothic output of the 1950s, 60s and 70s but is instead as dark and chilling as its intense wintery setting. Following the suicide of their mother, a pair of children accompany their father and his new lover, Grace, to a remote lodge for a Christmas holiday. Whilst their father is called back to the city by work commitments, the children, who resent Grace, discover that she was the sole survivor of a death cult. As strange events occur within the isolated chalet, their survial, mortality and existence come into grievous question.
Evenings on A Farm Near Dikanka / Вечера на хуторе близ Диканьки (1961)
Based on the story ‘ The Night Before Christmas’ by Nikolai Gogol ; Evenings is directed by Aleksandr Rou and shares the same visual and atmospheric strangeness of his later more well known film Morozko. Amid the seasonal revelry in a snowy Ukrainian village a blacksmith Vakula, (Yuri Tavrov) seeks the aid of the devil to transport him to St. Petersburg in Russia so that he may obtain a pair of slippers belonging to the Empress, in a bid to woo a local maiden Oksana (Lyudmyla Myznikova).
Black Robe (1991)
Directed by Bruce Beresford and though not a horror film as such the aesthetic, setting and grim events portrayed in this Canadian film should likely appeal to many fans of folk horror. In it we journey with a Jesuit priest Father LaForgue (Lothaire Bluteau) and his mostly Algonquin travel party across the wilderness of New France in winter as he intends to establish a new Christian mission in a far-off village. In addition to the terrain and hard weather, prophetic dreams, old faith and hostile strangers mar their way.
Winter’s Bone (2010)
Again not a horror film, Debra Granik’s Winter’s Bone will nonetheless appeal to some fans of the Backwoods and Midwestern Gothic sub-genres. A 17 year old girl. Ree (Jennifer Lawrence) is struggling in impoverished circumstances to look after her troubled mother and her brother and sister in the absence of their father imprisoned for the production of meth amphetamine. Survival is paramount to Ree who strives to teach her siblings how to live off the land but more troubles still fall upon the family due to the missing patriarch’s involvement in the meth trade.
Let The Right One In / Låt den rätte komma in (2008)
Adapted from John Ajvide Lindqvist’s novel, Tomas Alfredson’s movie is a beautiful piece of cinema. When a strange young gir Eli ( Lina Leandersson) moves into a Stockholm apartment complex in the early 1980s, she strikes up a friendship with a 12 year old boy Oskar (Kåre Hedebrant) who is something of an outsider himself and a target of school bullies. However there is a lot more to Eli than meets the eye as we discover in this atmospheric slow-burning tale.
The Blackcoat’s Daughter / February (2015)
Directed by Osgood Perkins, The Blackcoat’s Daughter centres around a Catholic girls’ boarding school in upstate New York. Whilst most of the pupils have headed home for the winter vacation, Kat (Kiernan Shipka) and Rose (Lucy Boynton) find themselves left behind and despite their difference in school age and personality types, they find their lives fatefully entwined and to that of a young woman called Joan (Emma Roberts) who escapes from an insane asylum some years after the girls’ stories unfold.
Ginger Snaps Back: The Beginning (2004)
The third of the Ginger Snaps franchise (this time directed by Grant Harvey) differs from the coming of age contemporary-times werewolf tale of the first two of the film series by taking the story back further to the early 19th Century but again starring Katherine Isabelle and Emily Perkins as sisters Ginger and Brigitte. This tale of lycanthropy follows an ill-fated winter trading excursion to the Hudson Bay, whereupon the girls find their way to an abandoned camp and then to a fort, where they find shelter but only the start of their troubles.
Black Christmas (1974)
Directed by Bob Clark and also known in the USA as Silent Night – Evil Night has less connection to folk horror than others mentioned here but arguably could fall under our remit as urban wyrd (but who really cares about labels unless they are attached to Christmas presents?) Included because not only is Black Christmas one of the best Christmas slasher horror films, it is quite possibly one of the best Christmas films and Slasher films too. Simple and straightforward yet eerie and rather tense in its execution it tells the story of college girls in a shared accommodation that during the festive season are gifted first with dirty phone-calls and then with a more deadly Christmas presence.
The Shining (1980)
Stanley Kubrick’s The Shining, adapted from Stephen King’s novel of the same name, needs little introduction – both a classic of winter horror and urban wyrd, this story of Jack Torrence (Jack Nicholson) a caretaker and aspiring author succumbing to cabin fever and / or possession whilst holed up in a remote Colorado Rockies hotel over the heavy winter with his wife Wendy (Shelly Duvall) and psychically gifted (or cursed) young son Danny (Danny Lloyd) has a habit of getting under the skin. In it we bear brutal witness to how Jack’s own buried alcohol-induced violence resurfaces towards his family but how also how violence is embedded into the very foundations and sinuous recurring history of the building itself.
Ho ho horror … As the nights draw in and the turn of the year looms we may seek the comfort of a cosy fireside and a warming drink and think of the approach of Father Christmas … but hark … what is that noise outside, could it be Santa Claus? … or could it be something entirely different … something stranger … more sinister hiding in those cold winter shadows? In this book Dr Bob Curran introduces us to a whole host of beguiling entities from different countries and different cultures that tread the freezing landscapes in the long nights of winter. Richly illustrated throughout by Andy Paciorek, Spirits of the Season is an ideal companion through the dark and magical days.
6×9 in, 15×23 cm Hardcover Image wrap + paperback both available No of Pages: 222. Illustrated
FREE to Watch ~ Folk Horror Revival’s creator Andy Paciorek’s lecture – ‘On Witches and Wolves: The Historic and Folkloric Roots of Folk Horror’ As presented by Zoom to the audience at the Denmark 2020 Folk Horror Festival.
It was through the music and spoken word of Andy Sharp’s English Heretic project that the writer John Alec Baker came to my attention. In his books The Peregrine (1967) and ‘The Hill of Dreams’ (1969) Baker treats us to nature writing that goes beyond the mere observation of the natural wild and into the realm of feeling and art in his lyrical visionary-bucolic prose. It was with great intrigue and little surprise in venturing into the pages of Sharp’s own book ‘The English Heretic Collection’ (Repeater Books. 2020) to find that his writing too is cloaked in many colours. Described as “a visionary field report based on fifteen years of deep-vein travel to England’s strangest landscapes – with a host of tragic players” the Collection is as much about people as it is about place. Like J.A. Baker, Sharp does not content himself with mere surface but digs deep into his own psyche and cerebral-emotive reaction to place and observation; but with his wider scope of subject matter, he digs further still – into the underbelly of people and deep down into the underworld of place and mind. For this is what this book is – a katabasis – a descent into the Underworld – whether it be the Asphodel Fields that classical Thanatologists pondered upon, or Вирій that lies beneath the tainted earth of the atomgrad of Pripyat or the very soil beneath our feet.
In his journeys both physical and psychical Sharp encounters numerous wraiths and shades – as diverse as Kenneth Grant, Fulcanelli, Robert Graves, Winston Churchill, CG Jung and HP Lovecraft yet there is one psychopomp whom even when not fully present can be felt persistently gazing over the voyage from the saturnine shadows. That watcher is the author and explorer of dystopia and experimentation- James Graham Ballard. And if JG Ballard is the spirit guide then his 1970 book ‘The Atrocity Exhibition’ and its 1973 deeper investigation into a theme therein, ‘Crash’ are the travel guides. Yet whereas the many A to Z roadmap children of Breydenbach & Reuwich’s ‘Peregrinatio in Terram Sanctam’ prepare us for the journey, ‘Crash’ is an atlas of the aftermath.
The literary terrain covered in ‘The English Heritage Collection’ lies between Graves’ ‘White Goddess’ and Ballard’s ‘Atrocity Exhibition’ – the physical land explored takes us from Boleskine House on the banks of Loch Ness (the accursed abode of figures such as the occultist Aleister Crowley, rock guitarist Jimmy Page and the sausage scammer Dennis Lorrain) to Orford Ness, the military atomic experimentation base in the shingled spit of the Suffolk coast. From Rendelsham Forest where the legend of UFO encounter or possibly psychological warfare testing persists within its roots and branches to the shrunken heads and other archaeological and anthropological hordes of the Pitts River Museum in Oxford. The train of thought takes us further from English shores also calling at stations such as Hiroshima, Chernobyl and the war-scarred jungles of Vietnam. Stops are also made at celluloid stations taking in films such as the folk horror classics 1968’s ‘Witchfinder General‘ and 1971’s The Blood on Satan’s Claw’ – the latter drawing an interesting parallel with the strange and tragic Mary Bell murders of 1968. ‘The English Heretic Collection’ is as much of a mind trip as it is a gazetteer of the obscure and through the magical endeavours of Sharp has hints of a grimoire also. Covering as much ground as it does in its stream of consciousness the book is like a Ronnie Corbett monologue on acid – that is not a complaint. Sharp’s word-play is entertaining, part magical – part mischief. I enjoy his puns – the name English Heretic itself with its mission of dedicating black plaques to places obscure and people intriguing and other witty examples such as ‘Wish You were Heretic’ and ‘The Underworld Service’. And that is what the book is like – an Underworld Service transporting us the readers to strange destinations. Its meanderings wind and weave and remind me of intoxicated conversations with like-minded friends in pubs at the times before the pandemic and hopefully again after. And that’s another good thing. Sharp is very well-read and very well-educated holding an MSc in Neuroscience, so at times the book may dip into academic territory, but the diversity and spellbinding nature of the subject matter and Sharp’s wit and poetic word-craft ensure that ‘The English Heritage Collection’ is an entertaining rather than dry read. It is also very worthwhile checking out English Heretic’s musical output to add a further dimension to Sharp’s vision.
‘The English Heritage Collection’ is released on October 13th 2020 from Repeater books – repeaterbooks.com/