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Is Hunterbrook Media a News Outlet or a Hedge Fund? – The New Yorker

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The hybrid media-finance company wants to monetize investigative journalism in the public interest. Is it a visionary game changer or a cynical ploy?
Illustration of a newsboy standing on a stack of money

Five days before the launch of Hunterbrook Media, one of its founders, Sam Koppelman, sat outside an East Village coffee shop and played me a voice mail. “We fucking took those cocksuckers down,” a man could be heard saying, articulating each profanity in a crisp staccato. “Fuck those guys. We’re No. 1.” The voice, Koppelman told me, belonged to Mat Ishbia, the C.E.O. of United Wholesale Mortgage and the majority owner of the Phoenix Suns. He was allegedly speaking about his closest industry rival, Rocket Mortgage. Hunterbrook was about to publish an investigation alleging that Ishbia’s company had aggressively pressured independent mortgage brokers to send business to U.W.M., potentially saddling home buyers with hundreds of millions of dollars more in closing costs. But what made this first foray into investigative journalism notable had already occurred: in advance of the story’s publication, Hunterbrook Media’s conjoined twin, Hunterbrook Capital, a hedge fund, had shorted U.W.M. stock and gone long on Rocket Mortgage.

Koppelman, who is Hunterbrook’s publisher, is twenty-eight, with large blue eyes and dark eyebrows. He has no professional banking or journalism experience, though he has worked as a political speechwriter and co-authored two books, one with the former acting Solicitor General Neal Katyal, the other with the former Attorney General Eric Holder. In the East Village, he wore a half-zip sweater and a white baseball cap emblazoned with “A Mouthful of Air,” the title of a novel by his mother, Amy, which was later adapted into a movie starring Amanda Seyfried. His father, Brian, is one of the showrunners of “Billions.”

Koppelman met his Hunterbrook co-founder, Nathaniel Horwitz, at the Harvard Crimson, where they once wrote an earnest op-ed about declining invitations to join Harvard’s exclusive final clubs. (“Should you join a group of predominantly white and privileged guys when you go to school with the most diverse and influential students in the world?”) After Harvard, Horwitz, who is twenty-eight and serves as Hunterbrook’s C.E.O., spent a few years with a Boston-based investment firm that specializes in biotech startups. His mother is the Pulitzer Prize-winning novelist Geraldine Brooks, and his father, Tony Horwitz, who died in 2019, was a best-selling author. “Hunterbrook” comes from Koppelman’s middle name, “Hunter”—as in Hunter S. Thompson—and honors Brooks.

“Nathaniel and Sam have a pretty ridiculous network,” Matthew Termine, one of the Hunterbrook reporters on the U.W.M. investigation, told me. E-mails that Koppelman wrote to the chair of Sony Entertainment about his application to Harvard appeared in the 2014 Sony Pictures leak, as did a note to the school on his behalf from Matt Damon. (Koppelman’s father co-wrote “Rounders” and “Ocean’s Thirteen.”) For a time, he dated the “Euphoria” star Maude Apatow. Horwitz, for his part, once wrote about a series of conversations he had with the Theranos founder Elizabeth Holmes as her life and company crumbled. Hunterbrook’s advisers include Paul Steiger, the founder of ProPublica, and Daniel Okrent, the first public editor of the Times. Former Wall Street Journal editor-in-chief Matt Murray and the financial journalist Bethany McLean gave notes on the U.W.M. investigation before publication. Hunterbrook’s hedge fund has raised a hundred million dollars, and the company received seed funding from, among others, the venture arm of Laurene Powell Jobs’s Emerson Collective and the hedge-fund billionaire Marc Lasry, who, Brian Koppelman once told the Financial Times, helped the “Billions” showrunner develop an “understanding of the billionaire psyche.”

Termine, a lawyer by training, had attracted some notice for helping to uncover documents associated with a Brooklyn brownstone owned at the time by the 2016 Trump-campaign chairman Paul Manafort. Late last year, Termine was working at a mortgage-industry startup when the Financial Times ran a piece about Hunterbrook. He was familiar with an ultimatum that U.W.M. had publicly issued in 2021, stipulating that any brokers who did business with the company could not also work with its two closest competitors. “Over all, the idea was ‘All right, let’s see what the public records show about the impact of this ultimatum,’ ” Termine said. But his initial conversations with Koppelman were more broadly about how he might use public records to investigate stories. Because Hunterbrook operates under the S.E.C. rules that govern hedge funds, it relies on open-source journalism, meaning it can only seek out information that is already public. “My view was that real estate was a great area of potential focus for them,” Termine said. “Just because there’s so much public-record data out there.”

For the U.W.M. investigation, Hunterbrook cross-referenced two enormous data sets—one detailing individual mortgages, the other with information on the agents who brokered the loans—to show that, in many cases, mortgage brokers were funnelling business exclusively to U.W.M. The profanity-laced voice mail had emerged on Facebook and Reddit; Hunterbrook said it ran it through A.I.-detection software to help verify its authenticity. The investigation, which was published in early April, drew praise for its substantive look at U.W.M.’s business practices. “Monopolistic behavior is everywhere,” Matt Stoller, a liberal political commentator, posted on X. Hunterbrook boasted online that U.W.M. had removed videos from its Web site which Hunterbrook said contained misleading information about the mortgage-broker process. (A spokesperson for U.W.M. said that the videos were taken down for unrelated reasons.) Koppelman appeared on CNBC and the podcast of his close friend Pablo Torre, a sports reporter and ESPN commentator, to promote the story.

Central to Hunterbrook’s pitch is a promise to help solve a slice of journalism’s current business-model crisis. Investigations are notoriously expensive, and fewer and fewer outlets are able to sustain them. Koppelman told me, “The experiment we’re running is very specifically ‘Can you do investigations into companies that are committing wrongdoing, and can you break news in parts of the world that have been left behind by mainstream outlets—and do it profitably?’ ” But the way in which Hunterbrook aims to make money has raised its own set of concerns. “What’s different, maybe even messed up, about this model is you’re not primarily serving any particular audience that you want to develop a relationship with or that you feel needs the truth to be exposed,” Kelly McBride, who chairs the Craig Newmark Center for Ethics and Leadership at the Poynter Institute, told me. “You’re primarily serving your investors in your hedge fund.”

U.W.M., in its response to Hunterbrook’s story, went further: “A hedge fund scheme using journalists to short a stock is not only unethical, it may be fraudulent.” (Hunterbrook indicated its investment positions in a note attached to the story.) A few days later, U.W.M. published a lengthy post, pointing to Termine’s previous work at the mortgage-industry startup, which it called “a Rocket Mortgage affiliated broker,” and to two recent federal-court cases challenging U.W.M.’s ultimatum that have so far been unsuccessful. (Termine refuted U.W.M.’s characterization of him, saying, “Sounds like, in U.W.M.’s telling, if a broker didn’t accept the ultimatum, they became a Rocket affiliate.”) U.W.M.’s stock, which had begun to dip a few days before the story’s publication—around the time that Hunterbrook secured its short position—fell, though not precipitously, and it has since made a slight recovery. Rocket Mortgage’s stock, meanwhile, which Hunterbrook had gone long on, fell as well.

In March, I met Hunterbrook’s general counsel, Fitzann Reid, at a coffee shop in Manhattan’s financial district. Reid, who wore a striped dress shirt and pink sweater, is a native New Yorker, though she now lives in Oakland. “I’m first-generation Jamaican,” she told me. “My parents moved here when I was a kid—they moved to Jamaica, Queens; I went to Jamaica High School. A lot of Jamaica going on.” She began her career in Hillary Clinton’s Senate office and, after law school, worked at the Securities and Exchange Commission. Before joining Hunterbrook, she was an in-house counsel for the activist hedge fund Engine No. 1; a partner at Engine No. 1’s outside law firm put her in touch with Koppelman and Horwitz. “I fully went into the conversation thinking, This idea is a grand one,” she said. “And then I met them, and we just had a really great conversation. So much of what they were talking about inspired me, and I’m a very mission-driven person.”

Hunterbrook employs three full-time “investigators,” two of whom have backgrounds not as journalists but as intelligence analysts. Murray, the former Wall Street Journal editor, runs a weekly editorial meeting. But it is Reid who lies at the heart of Hunterbrook’s business model. Under S.E.C. rules, many of the traditional tools of journalism—such as cultivating insider sources and conducting off-the-record interviews to learn non-public information—could constitute evidence of insider trading. At Hunterbrook, where reporting is being used to inform market trading, there is no seeking out of leakers or classified documents. The company prefers e-mails to phone calls, since the paper trail is easier to track. Screenshots of text messages must be posted in a Google Drive. Every detail in a story must be annotated with a source so that Reid can insure its provenance isn’t non-public information. Hunterbrook monitors the Slack messages and e-mails of its employees. “I still have lots of friends at the S.E.C.,” Reid told me. “So they’re well aware of this.”

Charges of insider trading are by no means unheard of in the world of journalism. In 1985, a Wall Street Journal columnist was convicted of participating in a scheme that made nearly seven hundred thousand dollars in trades that were based on his reporting; as recently as 2021, the indictment of a trader who pleaded guilty to securities fraud noted that some of his trades were made in coördination with stories that ran on Bloomberg News. If Reid determines that a story contains no compromising non-public information, Hunterbrook Media shares the reporting with Hunterbrook Capital, which, for now, has a single trader, an alum of Morgan Stanley. In the case of the U.W.M. investigation, the hedge-fund side of Hunterbrook was informed about the reporting nearly two weeks before publication. If the fund does well, journalists get a slice of the firm’s profits at the end of the year. “There are so many people and organizations that benefit from the work of good media, who are capturing a lot of financial value from it, except for the people in the organizations who are actually doing it,” Horwitz told me. “I think there’s an opportunity to reinvest that value in the people who are actually doing the work.”

Horwitz, who grew up in Virginia, Sydney, and on Martha’s Vineyard, is serious and intense, the sort of polished young professional who speaks in deliberate, paragraph-long arcs. “When I first met him, in college, he was, like, eighteen going on fifty,” Koppelman told me. “He was kind of fully baked.” Hunterbrook isn’t Koppelman and Horwitz’s first venture together. After the Supreme Court overturned Roe v. Wade, in 2022, they launched Mayday Health, a nonprofit that disseminates information on how to obtain a medication abortion. “The way I’ve heard Sam describe it is that their dynamic is like ‘Barbie’-‘Oppenheimer,’ ” Liv Raisner, another Mayday founder and its executive director, said. “Sam wears Knicks jerseys on calls during the day, Nathaniel’s usually in a button-down.” Raisner lived with Koppelman and Horwitz in a Williamsburg apartment while they got Mayday off the ground. “It would not be atypical to wake up in our apartment and find Nathaniel on the couch having made slide decks for companies that didn’t exist,” Raisner said. “He would practice pitching on me.”

Horwitz, with deep-set blue eyes, sandy hair, and a wide, easy smile, is the spitting image of his father, who died unexpectedly at the age of sixty. “I obviously think about my dad every day, and he feels very present,” Horwitz told me. “I certainly often find myself asking, ‘How would he tackle this one?’ I rarely say that part out loud.” Early on, Horwitz ran the idea for Hunterbrook by his mother, Geraldine Brooks, who, early in her career, worked as a foreign correspondent at the Wall Street Journal. Her reaction, Horwitz said, was “This is a good idea. It’s a bit crazy.” She gave him a list of people to speak with, including Steiger, her former boss at the Wall Street Journal; her Columbia Journalism School classmate William Cohan, who has a byline on the U.W.M. investigation; and Okrent. “I put them through every possible hoop involving the ethics of it,” Okrent told me. “They had anticipated ninety-nine out of a hundred and had answers.”

Koppelman’s first post announcing Hunterbrook read, “Hunterbrook is founded on a crazy premise: Great reporting doesn’t have to be a bad business.” But, when we met in the East Village, he said, “I don’t consider this journalism.” Horwitz told me that Hunterbrook’s work “achieves the same goals of journalism” and “fills gaps that have widened as traditional journalism has become harder and harder to sustain.” A lawyer couldn’t have threaded the needle better. The pair have also cleverly positioned Hunterbrook as a virtuous experiment that might fail. “We’re pretty up-front about that,” Koppelman said. “For a ten-million-dollar newsroom budget, a lot of people may have hired a lot more people at this point, and we’re not doing that because we don’t want to have the classic media-company thing of a hundred hires one year, a hundred fires the next.”

Unlike traditional media, Hunterbrook isn’t trying to make money by growing its audience—it has no paywall—but a dedicated readership could help identify potential investigations. Bellingcat, the open-source investigative-journalism group, which is known for reporting on wars and international espionage via the public domain, operates a newsroom of about forty full-time staff on an annual budget of four million euros. But its founder, Eliot Higgins, told me that an undervalued component of its success is its dedicated audience. “It’s not so much that we have a lot of staff,” he said. “It’s that we have a big community network. We have our own Discord server with twenty-eight thousand members, and they’re always digging through stuff and finding potential story leads that we’ll publish on the Web site.” Higgins added, “You can do the best investigation in the world—if you don’t have a network to communicate that to, then you’re not going to get very far with it.”

In many ways, Hunterbrook behaves more like a hedge fund than a journalism outlet. A core principle of traditional journalism, of course, is that reporters should pursue information if it is in the public good—not for remunerative reasons. Conflict disclosure is another basic tenet of journalism, but Hunterbrook doesn’t disclose the investors in its hedge fund. (Koppelman said that the company has emphasized its editorial independence to investors: “They understand those are the table stakes.”) The parts of the world that Hunterbrook seems to think have been left behind by the media, some of the places where it has hired freelance correspondents—Mongolia, Peru, Namibia, Brazil—are conveniently rich in natural resources.

The Bloomberg columnist Matt Levine, who has written about Hunterbrook in his newsletter, told me that the outlet, at least in its early stages, reminded him of Hindenburg Research, a short-selling firm that investigates companies, then publishes its findings in the hope of moving the market in a direction that benefits its financial positions. But one interesting Hunterbrook innovation, Levine noted, was its salary arbitrage. “Think about how a hedge fund works: you have an office in New York with fifteen people you pay a million dollars a year, and their job is to find out interesting things that have financial implications around the world,” he said. “Whereas you hire a local journalist, you pay them effectively nothing—and they probably have better information.”

Horwitz insisted that Hunterbrook is not a short-selling firm, not least because it sometimes goes long. The organization also publishes stories even if it’s not making trades on them and, Horwitz added, its investigators reach out to the targets of their investigations “in good faith” before publication. But Horwitz was slightly evasive when I asked what Hunterbrook pays its journalists. No one was making less than a hundred thousand dollars as a base salary, he said. “The upper limit is potentially incredibly high because it’s based on the performance of an investment fund, which is not an upside opportunity that reporters have had access to.” Another side market for Hunterbrook employees, he went on, is filing whistle-blower reports with the S.E.C. (Termine and a second, unnamed reporter on the U.W.M. story have filed one such report.) If the S.E.C. fine on a company is greater than a million dollars, whistle-blowers can collect ten-to-thirty per cent of the money. But there are also punitive consequences if a Hunterbrook journalist gets something wrong in a story: they could be sued for securities fraud. Errors in an article, Horwitz told me, “can trigger a clawback of a bonus.”

On April 5th, the front page of the Detroit News featured a story about a class-action suit filed against U.W.M. for racketeering. It sought to hold the company “accountable for orchestrating and executing a deliberate scheme, in coordination with a host of corrupted mortgage brokers, to cheat hundreds of thousands of borrowers out of billions of dollars in excess fees and costs that they paid to finance their homes.” In a decidedly unusual arrangement prior to publication, Hunterbrook shared its findings not only with state attorneys general but with the law firm Boies Schiller Flexner L.L.P., which filed the suit. The Hunterbrook Foundation, an affiliated nonprofit, had “entered an agreement with the law firm,” according to Hunterbrook’s Web site, and “proceeds the Hunterbrook Foundation receives from such litigation would be used to fund local news.”

Of course, local news is where journalism faces its biggest business crisis. “Great investigative journalism often does good; it often exposes things and changes the power balance,” McBride, of the Poynter Institute, said. “But I don’t know that it will solve the problem that we have—which is there’s not enough local journalism, which makes people distrust the entire system.” Koppelman and Horwitz have assembled a pedigreed team. They claim to be pursuing investigations in the public interest. (What could be more relevant to the American public, Horwitz asked me, than news about possible pervasive mortgage fraud?) But they also are hoping that their new enterprise will make them rich. The more cynical take is that Hunterbrook has co-opted the mission-driven language of journalism when, in fact, it is simply a hedge fund that hires journalists, as many hedge funds already do. Or, perhaps, as Okrent told me, journalists should stop being so precious about tradition. Many of the people criticizing Hunterbrook are likely also despairing about the state of the industry. “So how are we going to save it?” Okrent said. “What are we going to do so we can still do journalism?”

For now, Hunterbrook’s biggest challenge is one familiar to most newsrooms: finding enough stories to sustain its business model. But in its case there is arguably an even higher degree of difficulty. To be profitable, Hunterbrook needs stories that are both open-source and powerful enough to move markets. “My biggest concern is that we do really exceptional work, we open-source a lot of valuable information, but that we’re not able to do that sustainably for years,” Horwitz said. In a few recent investigations—including stories about companies doing business with Myanmar’s junta—Hunterbrook did not trade on their information, presumably because the reporting either contained non-public disclosures or couldn’t be leveraged for a return on the market. “I’m not asking people to trust this new model,” Horwitz told me. “It needs to prove itself.” ♦

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Bayo Onanuga battles yet another media – Punch Newspapers

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Bayo Onanuga battles yet another media  Punch Newspapers

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Blood In The Snow Film Festival Celebrates 13 Years!

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Blood in the Snow FILM FESTIVAL

Celebrates

13 YEARS

Be Afraid.  Be Very Afraid”

Toronto, on – Blood in the Snow Film Festival (BITS), a unique and imaginative showcase of contemporary Canadian genre films are pleased to announce the popular Festival is back for its 13th exciting year.  The highly anticipated Horror Film festival presented by Super Channel runs November 18th– 23rd at Toronto’s Isabel Bader Theatre  The successful, long running festival takes on many different faces this year that include Scary, Action Horror, Horror Comedy, Sci-Fi and Thrillers.  Festival goers will be kept on the edge of their seats with this year’s powerful line-up.

Blood in the Snow Festival begins with the return of alumni (Wolf Cop) Lowell Deans action horror feature Dark Match featuring wrestling veteran Chris Jericho followed by the mysterious Hunting Mathew Nichols. The unexpected thrills continue with Blood in the Snow World Premiere of Pins and Needles and the Fantasia Best First Feature Award winner, Self Driver.  The festival ends this year on a fun note with the Toronto Premiere of Scared Sh*tless (featuring Kids in the Halls Mark McKinney).  Other titles include the horror anthology series Creepy Bits and Zoom call shock of Invited by Blood in the Snow alumni Navin Ramaswaran (Poor Agnes). The festival will also include five feature length short film programs including the festivals comedy horror program Funny Frights and Unusual Sights and the highly anticipated Dark Visions program, part of opening night festivities.  Blood in the Snow Film Festival Director and Founder, Kelly Michael Stewart anticipates this year’s festival to be its strongest.  This was the first time in our 13 year history, all our programmers agreed on the exact same eight feature programs we have selected.”

Below is this year’s horror fest’s exciting lineup of features and shorts scheduled to screen, in-person at the Isabel Bader theatre. 

**All festival features will be preceded by a short film and followed by a Q&A with filmmakers.

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased  https://www.bloodinthesnow.ca

Super Channel is pleased to once again assume the role of Presenting Sponsor for the Blood in the Snow Film Festival. We extend our sincere appreciation to the entire BITS team for their unwavering commitment to amplifying the voices of diverse filmmakers and providing a platform for the celebration of Canadian genre content. – Don McDonald, the CEO of Super Channel

Blood in the Snow Festival 2024 Full screening schedule:

Monday November 18th
7pm – Dark Visions

Shiva (13:29) dir. Josh Saltzman

Shiva is an unnerving tale about a recently widowed woman who breaks with a long-held Jewish mourning ritual in hopes of connecting with her deceased husband.

How to Stay Awake (5:30) dir. Vanessa Magic

A woman fights to stay awake, to avoid battling the terrifying realm of sleep paralysis, but as she risks everything to break free, will she be released from the grip of her nocturnal tormentor?

Pocket Princess (9:45) dir. Olivia Loccisano

A young girl must take part in a dangerous task in order to complete her doll collection in this miniature fairytale.

For Rent (10:33) dir. Michèle Kaye

In her new home, Donna unravels a sinister truth—her landlord is a demon with a dark appetite. As her family mysteriously vanishes, Donna confronts the demonic landlord, only to plunge into a shadowy game where the house hungers for more than just occupants. An ominous cycle begins, shrouded in mystery.

Lucys Birthday (9:29) dir. Peter Sreckovic

A father struggles to enjoy his young daughter’s birthday despite a series of strange and disturbing disruptions.

Parasitic (10:00) dir. Ryan M Andrews

Last call at a dive bar, a writer struggling to find his voice gets more than he bargains for.

 Naualli (6:00) dir. Adrian Gonzalez de la Pena

A grieving man seeks revenge, unwittingly awakening a mystical creature known as the Nagual.

The Saint and The Bear (6:34) dir. Dallas R Soonias

Two strangers cross paths on an ominous park bench.

The Sorrow (13:00) dir. Thomas Affolter

A retired army general and his live-in nurse find they are not alone in a house filled with dark secrets.

Cadabra (6:00) dir. Tiffany Wice

An amateur magician receives more than he anticipated when he purchases a cursed hat from the estate of his deceased hero.

9:30 – Dark Match dir. Lowell Dean Horror / Action

A small time WRESTLING COMPANY accepts a well-paying but too good to be true gig.

 

Tuesday November 19th
7pm – Mournful Mediums

Night Lab (15:00) dir. Andrew Ellinas

When a mysterious package arrives from one of the lab’s field research stations, a promising young researcher uncovers a conspiracy against her masterminded by her jealous boss. She soon finds herself having to grapple with her conscience before making a life-or-death decision.

Dirty Bad Wrong (14:40) dir. Erica Orofino

Desperate to keep her promise to host the best superhero party for her 6-year-old, young mother Sid, a sex worker, takes extreme measures and books a last-minute client with a dark fetish.

Midnight at the lonely river (17:00) dir. Abraham Cote

When the lights go out at a seedy little motel bar, at the crossroads of a seedy little town, nefarious happenings are taking place, and three predators are enacting their evil deeds. Enter Vicky, a drifter who quickly realizes whats happening right under everyones nose. After midnight, In the shadows of this dim establishment, evil begets evil, and the predator becomes the prey.

Mean Ends (14:58) dir. Émile Lavoie

A buried body, a missing sister and an inquisitive neighbour makes for a hell of an evening. And the sun isnt close to settling on Erics sh*tty day.

Stuffy (18:26) dir. Dan Nicholls

A young couple sets off in the middle of the night to bury their kid’s stuffed bunny, as one of them is convinced that the stuffy might be cursed.

Dungeon of Death (18:33) dir. Brian P. Rowe

Torturer Raullin loves a work challenge, especially if that challenge involves hurting people to extract information from them.

9:30 – Hunting Matthew Nichols (96 mins) dir. Markian Tarasiuk

Twenty-three years after her brother mysteriously disappeared, a documentary filmmaker sets out to solve his missing person’s case. But when a disturbing piece of evidence is revealed, she comes to believe that her brother might still be alive.

w/ short: Josephine (6:15) dir. John Francis Bregar

A man haunted by his past seeks forgiveness from his deceased wife, but a session with two spirit mediums leads to an unsettling encounter.

Wednesday November 20th
7pm – BITS and BYTES

Ezra (10:57) dirs. Luke Hutchie, Mike Mildon, Marianna Phung

After fleeing the dark and demonic chains of his shadowy old home, Ezra, a killer gay vampire, takes a leap of faith and enters the modern world.

Head Shop (18:14 episode 1-3) dir. Namaï Kham Po

In a post-apocalyptic world, Annas life and work are dominated by her father Sylvestre, a short-tempered mechanic with a terrible reputation for tearing the head off anyone who dares cross him. He decides that shes old enough to follow in his footsteps, much to her dismay. To prove herself, she must now decapitate her first victim. Can she find a way to defy fate?

D dot H (18 :15 episodes 1-2) dirs. Meegwun Fairbrother, Mary Galloway

Struggling artist Doug is visited by the beautiful and enigmatic H, who claims he holds the power to visiting inconceivable places.” Still half-asleep, Doug is shocked when H vanishes suddenly and her doppelganger, Hannah, strides past.

Creepy Bits: Last Sonata (21:08) dir.

Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

Set among forests, lakes, and small towns, Creepy Bits is a horror anthology series helmed by five innovative filmmakers exploring themes of human vs. nature, the invasion and destruction of the natural world by outsiders, and isolation within a vast, eerie landscape that is not afraid to fight back.

Tales from the Void: Whistle in the Woods” (24:36) dir. Francesco Loschiavo

Horror anthology TV series based on stories from r/NoSleep. Each tale blends genre thrills & social commentary exploring the dark side of the human psyche.

9:30 – Self Driver dir. Michael Pierro Thriller

Facing mounting expenses and the unrelenting pressure of modern living, a down-on-his-luck cab driver is lured on to a mysterious new app that promises fast, easy money. As his first night on the job unfolds, he is pulled ever deeper into the dark underbelly of society, embarking on a journey that will test his moral code and shake his understanding of what it means to have freewill. The question becomes not how much money he can make, but what he’ll be compelled to do to make it.
 

w/ short: Northern Escape (10:38) dirs. Lucy Sanci, Alexis Korotash

A couple on a cottage getaway tries to work on their relationship but ends up getting more than they bargained for when they discover something sinister lurking beneath the surface.

Thursday November 21st
7pm – Funny Frights

Midnight Snack (1:41) dir. Sandra Foisy

Hunger always strikes in the dead of night.

Hell is a Teenage Girl (15:00) dir. Stephen Sawchuk

Every Halloween, the small town of Springboro is terrorized by its resident SLASHER – a masked serial killer who targets sinful teenagers that break The Rules of Horror’ – dont drink, dont do drugs, and dont have sex!

Gaslit (10:36) dir. Anna MacLean

A woman goes to dangerous lengths to prove she wasn’t responsible for a fart.

Bath Bomb (9:55) dir. Colin G Cooper

A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but after an accusation of infidelity, things take a deeply disturbing turn.

Any Last Words (14:22) dir. Isaac Rathé

A crook trying to flee town is paid an untimely visit by some of his former colleagues. What would you say to save your life if you were staring down the barrel of a gun?

Papier mâché (4:30) dir. Simon Madore

A whimsical depiction of the hard and tumultuous life of a piñata.

The Living Room (9:59) dir. Joslyn Rogers

After an unexpected call from Lady Luck, Ms. Valentine must choose between her sanity and her winnings – all before the jungle consumes her.

A Divine Comedy: What the Hell (8:55) dir. Valerie Lee Barnhart
 Dante’s classic Hell is falling into oblivion. Charlotte,

sharp-witted Harpy, navigates the chaos and sets out despite the odds for a new life and destiny.

Mr Fuzz (2:30) dir. Christopher Walsh

A long-limbed, fuzzy-haired creature will do whatever it takes to keep you watching his show.

Out of the Hands of the Wicked (5:00) dirs. Luke Sargent, Benjamin Hackman

After a harrowing journey home from hell, old Pa boasts of his triumph over evil, and how he came to lock the devil in his heart.

The Shitty Ride (9:13) dir. Cole Doran

Hoping to impress the girl of his dreams, Cole buys a used car but gets more than he bargained for with his shitty ride.

9:30 – Invited dir. Navin Ramaswaran Horror

When a reluctant mother attends her daughter’s Zoom elopement, she and the rest of the family in attendance quickly realize the groom is part of a Russian cult with deadly intentions.

w/ shorts: Defile dir. Brian Sepanzyk

A couple’s secluded getaway is suddenly interrupted by a strange family who exposes them to the horrors that lie beyond the tree line.

 A Mother’s Love dir. Lisa Ovies

A young girl deals with the consequences of trusting someone online.

Friday November 22nd
7:00 pm – Creepy Bits (anthology horror series)

Creepy Bits is a short horror anthology series that explores pandemic age themes of isolation, paranoia and distrust of authority, serving them up in bite-sized chunks. Directed by Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

9:30 – Pins and Needles (81 min) dir. James Villeneuve Horror / Thriller

Follows Max, a diabetic, biology grad student who is entrapped in a devilish new-age wellness experiment and must escape a lethal game of cat and mouse to avoid becoming the next test subject to extend the lives of the rich and privileged.

w/ short: Adjoining (11:42) dirs. Harrison Houde, Dakota Daulby

A couple’s motel stay takes a chilling turn when they discover they’re being observed, leading to unexpected consequences.

Saturday November 23rd
4pm – Emerging Screams (94 mins)

Apnea (14:58) dir. David Matheson

A single, working mother finds her career and her offbeat sons safety in jeopardy when she discovers that her late mother is possessing her in her sleep.

Nereid (7:48) dir. Lori Zozzolotto

A mysterious woman escapes from an abusive relationship with earth shattering results.

BedLamer (15:00) dir. Alexa Jane Jerrett

On the shores of a small fishing village lives a lonely settlement of men – capturing and domesticating otherworldly creatures that were never meant to be tamed.

Blocked (6:30) dir. Aisha Alfa

A new mom is literally consumed with the futility of cleaning up after her kid.

Dance of the Faery (10:23) dir. Kaela Brianna Egert

A young woman cleans up her estranged, great aunt’s home after her death. Upon inspection, she soon realizes that her eccentric obsession with fairies was not born out of love, but of fear.

Deep End (7:36) dir. Juan Pablo Saenz

A gay couple’s heated argument during a hike spiral into a nightmare when one of them vanishes, leading the other to a mysterious cave that could reveal the chilling truth.

Ojichaag – Spirit Within (11:21) dir. Rachel Beaulieu

An emotionally devastated woman seeks comfort in her choice to end her life. As she faces death in the form of a spirit, she must decide to let herself go to fight to stay alive.

Lure (9.56) dir. Jacob Phair

A tormented father awaits the return of the man who saved his son’s life.

Let Me In (10:00) dirs. Joel Buxton, Charles Smith

A reluctant man interviews an unusual immigration candidate: himself from a doomed dimension

7:00 pm –The Silent Planet (95 mins) dir. Jeffrey St. Jules Sci-fi

An aging convict serving out a life sentence alone on a distant planet is forced to confront his past when a new prisoner shows up and pushes him to remember his life on earth

w/ short: Ascension (3:57) dir. Kenzie Yango

Deep in a remote forest, two friends, Mia and Riley, embark on a leisurely hike. As tensions run high between the two, a strange humming noise appears that seems to be coming from somewhere in the woods.

9:30 – Scared Shitless (73 mins) dir. Vivieno Caldinelli Horror / Comedy

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.
 

w/ short: Oh…Canada (6:20) dir. Vincenzo Nappi

Oh, Canada. Such a wonderful place to live – WHETHER YOU LIKE IT OR NOT. A musical look into the artifice surrounding Canadian identity.

 

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased https://www.bloodinthesnow.ca/#festival

 

Follow “Blood In The Snow” Film Festival:

https://www.instagram.com/bitsfilmfest/

 

Media Inquiries:

Sasha Stoltz Publicity:

Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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It’s time for a Halloween movie marathon. 10 iconic horror films

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Sometimes, you just have to return to the classics.

That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.

We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?

“Rear Window” (1954)

“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.

James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.

— Bob Thomas

“Halloween” (1978)

At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”

Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.

The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.

— Bob Thomas

“The Silence of the Lambs” (1991)

“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”

Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.

Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.

— Bob Thomas

“Scream” (1996)

In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.

If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.

By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.

— Ned Kilkelly

“The Blair Witch Project” (1999)

Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”

“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.

The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.

But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.

— Christy Lemire

“Saw” (2004)

The fright flick “Saw” is consistent, if nothing else.

This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.

You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.

But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.

— David Germain

Germain gave “Saw” one star out of four.

“Paranormal Activity” (2009)

The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.

The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.

The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.

— Glenn Whipp

Whipp gave “Paranormal Activity” three stars out of four.

“The Conjuring” (2013)

As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.

“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.

But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.

— Jake Coyle

Coyle gave “The Conjuring” two and half stars out of four.

Read the full review here.

“Get Out” (2017)

Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”

In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”

It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.

— Jake Coyle

Coyle gave “Get Out” three stars out of four.

Read the full review here.

“Hereditary” (2018)

In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”

A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.

Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.

The hype is mostly justified.

— Jake Coyle

Coyle gave “Hereditary” three stars out of four.

Read the full review here. ___

Researcher Rhonda Shafner contributed from New York.

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