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No One Knows Exactly What Social Media Is Doing to Teens

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Late last month, the U.S. surgeon general issued an advisory—a format reserved for public-health issues that demand the nation’s immediate attention. “Nearly every teenager in America uses social media,” the report read, “and yet we do not have enough evidence to conclude that it is sufficiently safe for them.” In response, the Biden administration announced a new interagency task force that has been given a year to come up with a slate of policy recommendations that will help “safeguard” children online.

This may be a legislative problem for Big Tech, and it’s certainly a public-relations problem. Over the past several years, cigarettes have become the dominant metaphor in the discourse about social media: Everyone seems to think that these sites are dangerous and addictive, like cigarettes. Young people get hooked. At a congressional hearing on Facebook’s impact on teenagers in 2021, Senator Ed Markey tossed the comparison at Antigone Davis, a vice president and the global head of safety for Meta, Instagram’s parent company. “Facebook is just like Big Tobacco, pushing a product that they know is harmful to the health of young people, pushing it to them early,” Markey, a Democrat, said. Now the metaphor is even more compelling, as it can also evoke the famous 1964 surgeon-general warning about the scientific evidence of cigarettes causing lung cancer.

But the two are obviously very different. As a previous surgeon general pointed out: Cigarettes kill people through deadly disease. Social media is being blamed for something just as alarming but far less direct: a sharp increase in teen depression and suicide attempts over the past decade and a half that has been labeled a “national state of emergency” by the American Academy of Pediatrics and other prominent medical associations. The CDC’s latest trend report shows the percentage of high-school students who “experienced persistent feelings of sadness or hopelessness” jumping from 28 percent in 2011 to 42 percent in 2021, and the numbers for girls and LGBTQ students are even worse (57 and 69 percent, respectively, in 2021). Understandably, social media has been one of the places that parents have looked for an explanation. Last year, a Pew Research Center study found that more than half of American parents are at least somewhat worried that social media could lead their teenagers to develop mental-health problems—28 percent were “extremely” or “very” worried. Teens themselves are worried, at least about one another. About a third of them told Pew that social media is mostly negative for people their age, compared with about a quarter who say the effect has been mostly positive—although only a tenth said social media is mostly bad for them personally.

Compelling evidence suggests that social-media platforms are contributing to the crisis, but it’s also true that the horror stories and the headlines have gotten out in front of the science, which is not as settled as many would think. A decade of work and hundreds of studies have produced a mixture of results, in part because they’ve used a mixture of methods and in part because they’re trying to get at something elusive and complicated. Rather than coalescing into a unified message that social-media use is an awful, indisputably destructive force—tobacco with a “Like” button—the research instead has been building toward a more nuanced, and perhaps more intuitive, takeaway.

Social media’s effects seem to depend a lot on the person using it. It may play a different role for different demographics, and the role it plays may also change for people at different stages of life. It surely doesn’t affect everyone in the same way. This makes informed intervention extremely difficult. “Probably a lot of [the problem] comes down to the science not being precise enough,” says Amy Orben, a researcher at the University of Cambridge who studies the relationship between social media and well-being and whose work has been central to the ongoing debate. The field has not yet produced “precise enough measurements and precise enough hypotheses to merit a precise answer.”

This complicates a rapid succession of actions against social-media platforms in recent months. Last month, the governor of Arkansas signed a bill making it illegal for a minor to have a social-media account without parental consent and requiring social-media companies to verify user ages with government-issued ID; a similar one was signed by the governor of Utah in March. Other age-gating measures are being considered in at least 10 more states and at the national level.

Then there are the lawsuits. In January, the Seattle public-school district sued Facebook, Instagram, Snap, TikTok, and YouTube for violation of a state “public-nuisance law,” arguing that the social-media companies were known to “exploit the neurophysiology of the brain’s reward system” and that their “manipulative conduct” had created a mental-health crisis in the school system. Meanwhile, several major law firms have taken on personal-injury lawsuits on behalf of parents who believe that these platforms have caused problems in their kids’ lives, such as body dysmorphia, depression, anxiety, and suicide. Chris Seeger, of the New Jersey–based Seeger Weiss, told me his firm currently has more than 1,000 such cases.

These cases hinge on novel arguments that will have to carefully circumvent a lot of precedent of failed litigation against social-media companies. And new laws may run up against First Amendment issues and be difficult to enforce. (Critics have also pointed out that Arkansas Governor Sarah Huckabee Sanders’s expression of concern about exploitation of children is a bit confusing, given that she recently signed a bill undoing a number of child-labor protections in her state, including the requirement that employers get parental permission to employ children under the age of 16.)

This is a crucial moment, Orben told me: “I think the key question is, in 20 years’ time, will we look back at this conversation and be like, We were worried about technology in excess, when we should have been worried about raising our kids? It’ll probably be somewhere halfway between the two.” Legislation that removes teenagers from social media likely won’t solve the mental-health crisis; teens will find ways around it, and for the ones who don’t, being displaced from their online communities may lead to different problems. The science, as it stands right now, provides reason to be concerned about social media. It also suggests the need for a far more sophisticated understanding of the effects of social media on young people, and the presence of much deeper problems that we could overlook if we aren’t careful.

This latest surge in concern about kids and the internet was exacerbated by the Facebook Papers, a collection of documents leaked by the former Facebook employee Frances Haugen and shared with journalists in fall 2021. Included were several studies conducted internally, asking groups of young Instagram users how the platform made them feel. “We make body image issues worse for one in three teen girls,” read the summary of one such study. Another: “Teens blame Instagram for increases in the rate of anxiety and depression. This reaction was unprompted and consistent across all groups.”

These were among the most widely discussed of the disclosures, and by the time the files had been covered in every major national publication, they could be referred to with the shorthand “Facebook knew.” Appearing on The Daily Show With Trevor Noah, Haugen agreed with the host’s suggestion that Facebook had behaved similarly to (you guessed it) tobacco and fossil-fuel companies by conducting self-damning research and opting not to share the findings. Facebook responded to the uproar by publishing annotated versions of the research, which emphasized how unscientific the studies were.

But what of the actual science? It’s been nearly six years since The Atlantic published the psychologist Jean Twenge’s blockbuster report “Have Smartphones Destroyed a Generation?” The generation she was talking about was born from 1995 to 2012—roughly Gen Z, though she called it “iGen.” These kids grew up with smartphones and made Instagram accounts before they started high school. “It’s not an exaggeration to describe iGen as being on the brink of the worst mental-health crisis in decades,” Twenge wrote. “Much of this deterioration can be traced to their phones.” She made this argument by citing early studies and by simply connecting the dots—kids were getting more anxious and depressed, and the trend started around the time they began using smartphones and social media and living life through screens.

Since then, scores of researchers have built a large body of work looking into the effects of screen time generally. But the results have continually been mixed: Screens are ubiquitous, and they’re personal. In a 2019 study, Orben and her research partner Andrew Przybylski found that screen time could not be correlated with well-being among adolescents in any coherent way. Screen time—the bogeyman of the 2010s—was simply too broad to be examined as one single phenomenon, they argued. The study was covered widely with a snappy takeaway: “Screens Might Be as Bad for Mental Health as … Potatoes.” Orben and Przybylski had contextualized their core finding by comparing screen time with other behaviors that could be similarly correlated with well-being, such as eating extra starch or wearing glasses. This helped the researchers make their point that the questions many had been asking about technology were not specific enough. “‘Screen time’ is a nonsense topic,” Orben told me last fall. “It brings everything together from yoga videos to watching self-harm content on Instagram.”

The study marked a shift in the research, which for the past several years has been more tightly focused on social-media use, as well as other, more specific ways people use the internet, and on the experiences of teenage girls in particular. Many of these studies found correlations between social-media use and bad outcomes such as anxiety, depression, and negative body image. But tech companies can easily defend themselves from correlative claims by arguing—reasonably—that they establish only that two things tend to happen at the same time, and not that one of those things is causing the other. The challenge for public-health researchers, then, is to find novel ways to prove (or disprove) a direct causal relationship as well—a very difficult thing to do.

In passing its new social-media restrictions for minors, the state government of Utah cited a 2022 review paper that summarized many correlative findings in the research. Utah also cited a buzzy paper from 2022 written by three economists that tried to get around the correlation conundrum with a creative attempt at a quasi-experiment. They followed Facebook’s staggered rollout across college campuses in the mid-aughts, matching up the timeline with increased rates of depression on the same campuses. Their “back-of-envelope calculation” was that 24 percent of the “increased prevalence of severe depression among college students over the last two decades can be explained by the introduction of Facebook.”

This approach has its own problems, Laurence Steinberg, a psychology and neuroscience professor at Temple University and an expert on adolescence, told me in an email. “I would tread very cautiously here,” he wrote after reading the economists’ paper. “The results are subject to what is referred to as the ecological fallacy—drawing inferences about individuals from aggregate data. As the authors note, they have no idea whether the students who reported mental-health problems were those that were using Facebook.”

This science is less straightforward—and slower-moving—than many realize. Researchers face a number of technical difficulties. For example, when the millions of people you want to study are teenagers, there are ethical hoops to jump through, prolonging the process and sometimes making research feel out-of-date before it’s even finished. And researchers have also struggled to come up with reliable methods for measuring what they’re interested in. To illustrate, Jeff Hancock, the founding director of the Stanford Social Media Lab, asked me a rhetorical question: “Did you use social media a lot or a little today, on a scale of 1 to 7?” How do you even answer that?

Three young people use their phones while sitting in a field of grass.

Illustration by Jackie Carlise

There is now a huge amount of research, but experts can look at the findings and draw disparate conclusions. In a 2022 umbrella review (a review of reviews of the research), scholars from the University of Amsterdam pointed out that different people had described similar effects from social-media use in dramatically different terms, from “weak” and “inconsistent” to “substantial” and “deleterious.” And in a 2020 review of the research, Orben found a slight negative correlation between social-media use and well-being (social-media use goes up; well-being goes down). Yet it is “still unclear what such a small effect can tell us about well-being outcomes as social media use is inherently linked in complex ways with other aspects of life,” she concluded.

Jonathan Haidt, a social psychologist at the NYU Stern School of Business and a regular contributor to The Atlantic, has been reading the research for years and has become one of the best-known commentators on the subject. He maintains a massive public Google Doc in which he collects, sorts, and analyzes all of the papers pertaining to the question of whether social media contributes to the rise of depression and anxiety in teenagers. Haidt agrees with Orben and other researchers that findings on screen time tend to be mixed. “But if you make it ‘social media,’ it’s very consistent,” he told me. “The next question is, what’s the population? Are we talking about all kids, or are we talking about girls?” In his review of all available work, including the data that Orben and Przybylski analyzed in 2019, he found a positive correlation between depression and anxiety and social-media use for teenage girls (depression and anxiety go up when social-media use goes up). “No person in their right mind would let their daughter be engaged in an activity” with such a clear connection to depression and anxiety, he said.

At this point, scientists at least agree that the relationship between depression and anxiety and social-media use is supported by enough evidence to demand attention. Orben’s latest paper argues for greater attention on young girls as well, showing a relationship between social-media use and a decline in different forms of life satisfaction. The question is: What kind of attention should we be paying? “If the correlations are worse for girls, then that’s really important and good to know,” Hancock told me. “We need to talk about that, but I guarantee you that social media is not bad for all teenage girls all the time.”

If we want solutions that are more delicate and precise than the legislation proposed so far, we need a lot of delicate and precise information. If social media isn’t bad for all teenage girls, we need to know which ones it is bad for, and what makes a specific girl susceptible to the risks. Some girls are suffering, and social media is exacerbating their pain. Some girls use the internet to find community that they don’t have offline, or to express creative impulses and questions about their identity that their families aren’t open to. We also need to know which aspects of social media are riskiest. Is it harmful because it cuts into sleep hours or IRL friend time and exposure to sunlight, or is it the envy-inducing images that invite comparison and self-doubt? Is it bullying we should worry most about, or the more ambient dread of being liked but not liked enough?

Right now, we have handfuls of numbers and no clear way to arrange them; social media might affect different people in different ways for any number of reasons. It could matter how they use social media. It could even matter how they think they’re using social media.

Angela Lee, a Ph.D. student at Stanford who works with Hancock, is one of the first researchers to break ground on the latter distinction. During her first psychology lecture as an undergraduate, Lee learned about “mindsets” in the context of education. Research had shown that the mindset you have about your own intelligence has a significant impact on the course of your intellectual life. If you believe that intelligence is something that can grow and improve, then you might take actions to grow and improve it. That “ends up being really powerful,” Lee told me. It would “affect their motivation—like, How hard am I going to try on this assignment?—or their behaviors—Do I go ask for help?” She wondered whether this would also be relevant to social media. In other words, did it matter how people answered the question when they asked themselves: Am I in control of this technology, or is it exerting control and influence over me? Studies showed that social-media use increased well-being for some adolescents, harmed other adolescents, and didn’t affect still others at all, so Lee had a feeling that some of these differences could be explained by the teens’ mindsets.

In the resulting paper, which has recently been published as a preprint and is under review at the Journal of Personality and Social Psychology, Lee and Hancock built on previous technology-use research showing that feeling a lack of control is “related to worse well-being, including depression, anxiety, and loneliness.” Logically, they found that a feeling of control was associated with “better well-being,” and “more social support and less psychological distress.” People who viewed social media more positively “also reported better outcomes than those who believed the effects of social media were harmful.” These effects were not limited to those who spent little time on social media, as those who felt in control of their use still “reported less distress” than those who didn’t feel in control, even when they were using social media for above-average amounts of time. (Facebook quickly conducted its own version of Hancock and Lee’s study after it was presented to the American Psychological Association in May 2019; the results were similar, though Facebook obviously had access to far better data.)

In their paper, which focused on adults rather than adolescents, Lee and Hancock noted their findings’ relevance to the current policy debate and its heavy reliance on tobacco metaphors. Feeling in control of your social-media use might be hard “if people are constantly exposed to messages about how it is addictive,” they argued. It might not be helpful to tell everyone that they’re helpless in the face of alluring images and sticky incentives, the same way that they could become helplessly beholden to nicotine. We might try to critique powerful and popular technologies without accidentally making the case that human beings have no ability to resist them. Bringing the concept of agency into the debate is compelling in part because it appeals to common sense. We know we’re not actually constantly coerced by the algorithms, the notifications, and the feed—we have to be more complicated than that.

But, of course, the agency insight is still up for debate. For one thing, the participants in Hancock and Lee’s study were not teenagers—they were mostly in their 20s and 30s. When I asked Frances Haugen about it, she said it would be “unreasonable to say that a 14-year-old is the one who should be responsible for modulating their social-media usage.” And I noticed a page of notes tacked onto the version of the paper that Lee had emailed to me. A fellow grad student had written, “Should we be telling people that they should think that they have control over platforms with algorithms that even the companies themselves don’t understand?”

Wanting to use social media does not mean that you’ve surrendered control of your emotions and life to a machine. In fact, for a lot of people, it could mean the opposite. “The use of digital media creates a forum that may allow for the development of rapid and nuanced communication skills,” Mitchell Prinstein, a psychologist, wrote in The Journal of Child Psychology and Psychiatry just as the pandemic began. He also noted the internet’s possibilities for identity exploration, creativity, connection, and acceptance. “Adolescents who feel ostracized or stigmatized within their offline social contexts, such as members of ethnic, racial, gender, and sexual minority groups, often report access to online companionship, resource sharing, and emotional validation that is much harder to access otherwise.” Other researchers have found that social media can be useful for young people who are dealing with chronic illness—sometimes even helping them stay on track with their treatment plans.

In all of this, we would do well to remember that we’re not aggregate numbers—we’re individuals making decisions about how to spend our time and pursue happiness. In a recently published advisory of its own, the American Psychological Association suggested that teens ought to be trained to use social media in productive ways and that parents should strive to be involved in their kids’ online lives—they should notice when the apps start to interfere with school or with time spent in other ways (including sleep and physical activity). Based on the available scientific evidence, the association argued, “using social media is not inherently beneficial or harmful to young people.” The surgeon general’s advisory also emphasized the incompleteness of the picture in a section of the report about “known evidence gaps” and the “urgent need” for further research.

Laurence Steinberg, the adolescence expert, argues that teenage depression and anxiety were already ticking up before social media became as popular as it is; the upward trend in the percentage of high-school students who “experienced persistent feelings of sadness or hopelessness” has been visible since at least 2009, after the rise of Facebook and YouTube but before the ubiquity of smartphones, which made social media accessible on the go. (According to other CDC data, suicide rates started increasing in 2003.) That doesn’t mean that social media hasn’t exacerbated the problem, he acknowledged. It just means that it’s too easy an answer. “I think that our tendency as human beings is to search for the simplest possible explanation of things,” he said. “You know, maybe it’s a combination of eight different things, each of which is contributing a little bit, but none of which is the culprit—people would rather just say ‘We found what the culprit is.’”

Under public pressure, some platforms have started to make changes. Though Instagram’s critics often talk as if it has done nothing at all, remaining laser-focused in pursuit of pure profit, Instagram has experimented quite a bit. Some changes are meant to reduce bullying and doomscrolling. It’s also added content warnings on posts and search results that encourage eating disorders, and reduced those posts’ visibility in feeds. Before Haugen’s leaks, the company tried hiding “like” counts under photos (doesn’t help); since the leaks, it has implemented bedtime prompts and more robust parental controls.

I don’t bring this up to defend the company (which has found itself in a political situation that all but compels some effort on its part), but to ground us in reality. We’re not going back to a time before Instagram. Social media is central to the way that young people understand the world and their relationships—how to be attentive, how to be creative, how to be a friend, how to think and react and learn. This is probably true for the worse, but it’s also true for the better (and the neutral!), and to untangle it completely would be impossible. So, knowing that we’ll never know precisely everything, we should be careful to describe the situation as accurately as we can. “We need to find a way to make sure the online world is safe for young people,” Orben told me. “And if we want to go down the route and do an experimental intervention without a really secure evidence base, I think we would need to invest a lot of money into figuring out whether it worked and then be ready to pivot if necessary. But I don’t know if the policy landscape allows that at the moment.”

It’s not comfortable to accept that our understanding of social media is still so limited or that the best path forward is to keep plodding along toward whatever clarity there might be to find. But removing millions of teenagers from social media is a dramatic, even draconian intervention. For many, it would feel good. It would feel like doing something, and doing something big. And it would be. We should bear in mind that, even as we resent the “experiment” that tech companies have performed on the young population of the country, we would be meeting their wild experiment with another wild experiment. This one would have unintended consequences too.

 

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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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