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The Gaps Between Media and Reality

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Welcome to Up for Debate. Each week, Conor Friedersdorf rounds up timely conversations and solicits reader responses to one thought-provoking question. Later, he publishes some thoughtful replies. Sign up for the newsletter here.

Last week I asked readers what they experience or observe personally that is most at odds with what they see portrayed in the media.

G. is a 77-year-old woman:

I’m not seeing the real me. I wish the entertainment media would tell the truth about people like me who are my age. I don’t wear (or own) an apron. I’m perfectly comfortable with technology. I taught my 20-year-old granddaughter how to populate a website.

Don’t let looks fool you. I am a sexual person. I love my family but value my privacy and independence. Managing that space is harder than you think. The never-ending display of face lifts and rejuvenation products is a mean-spirited denial of the real beauty of age.

G.Y. offers an analogy:

I am a southerner—from the deepest of the deep South. We southerners don’t hear our own accent, just as my New England friends don’t hear their accents. It takes an outsider to hear and point out the sonic nuances that we never notice in ourselves. And if the accent is to be portrayed—by a stage actor, for example—it requires a farcical overexaggerated caricature to portray the accent in a universally recognizable way.

This is the problem with our political discourse and how it is reported on by perfectly good and conscientious journalists. None of us are capable of hearing our own ideological accents, but they are glaringly obvious to the rest of the world. All of our assumptions are assumed and so we imagine them to be conventional wisdom. And you just can’t edit out your ideological accent when you are immersed in it any more than you could dry yourself off while swimming in a lake.

All of our [national] media outlets are located on the coast, as is the entertainment industry, as is our seat of federal governance, and so they are all immersed in one particular ideological accent. Not only do they not hear it, but they also can’t possibly hear it, nor should we expect them to. It can only be pointed out by an observant outsider and can only be illustrated or portrayed by outsiders with a sort of exaggerated vaudeville act—oversimplifying and overemphasizing small, nuanced tones and tenors.  Think, for example, the exaggerated and overheated Kabuki theater of political talk radio.

In the past, before the advent of internet and instant posting, the reporters lived in the same ideologically accented bubble, but if you wanted your story to be picked up off the wire in Topeka, or Racine, or Little Rock, or any town in Middle America, you had to get the attention of the local editor that was conversant in the local vernacular. If the local editor in Topeka did not pick up the story, it did not get read in Topeka. Now the newsrooms are populated by Ivy League–credentialed elites, just a younger version of the editors. And so again we miss the vital opportunity for writing in the vernacular of the nation rather than our own particular provincial perspective. After all, New York and Washington, D.C., are easily the two most provincial towns in America. The most obvious solution is to disperse our reporters to the hinterlands, but will any of them be willing to trade Manhattan for Racine?

Eric harkens back to pandemic coverage:

I take umbrage with the portrayal of essential workers by media organizations. As someone who has worked at grocery stores throughout the pandemic, I felt as if the media treated essential workers as a strange curiosity who do not consume media themselves. The use of the royal we in phrases like “We’ve all been at home the past few years” became so ubiquitous as to go unquestioned. Actually, many of us went out into the world on a daily basis. There were so many articles talking about the difficulties of isolation or cohabitating during the pandemic. But I could find none that addressed the struggle of an essential worker living with someone who never left the house.

Jaleelah sees a lot more hand-wringing about the unwillingness of young people to debate than she does real-world support for them to do it:

The biggest threat to debate on campus does come from administrators, but in an indirect manner: Debate clubs in Canada often receive little to no funding from their universities. Hundreds of curious students seek out my debate team, but since the university I attend started charging all clubs $100 per room booking (after 10 or so freebies), we don’t have the space for all of them to speak. Dozens of students who practice constructing and delivering arguments for weeks or months express interest in debating students from other schools. But since there’s some obscure rule against funding off-campus events, we can only send a handful of them to competitions. With so many prominent conservatives publicly lamenting the decline of debate, one might assume that sponsors are jumping to support the activity. That is sadly not the case.

Kimberly is glad that people who are obese are now portrayed in media and that fat-shaming is being challenged, but believes that almost all such portrayals are leaving out the health challenges of obesity:

I have three very good friends who are obese and they all suffer with diabetes and decreased mobility. All have had knee replacements and two have serious respiratory issues. On television, all that you see is fat and happy, with good health insinuated, whereas in reality that is often not the case.

Earl believes that “much of the media have a less-than-adult portrayal of religion in the lives of Americans.”

He writes:

The writer/reporter who admits to having been “raised Lutheran” or otherwise concluded their religious participation before finishing high school nevertheless will write or report on religion as if everyone has the same, often two-dimensional, perspective on a part of the human experience that has been around since humans were invented. When religious beliefs, dogma, and practices conflict with hot-topic issues in the secular, popular culture, the media usually make no effort to probe into the religious basis of such matters.

Media that pride themselves on accurate and in-depth reporting have knowledge of the U.S. political system and its history well beyond high-school courses. When writing and reporting on religious affairs, they need to educate themselves to a level commensurate with the topics at hand.

Leela opines on media portrayals of Asian Americans:

As a mixed-race Jewish teenage girl, I’ve never been able to find a piece of modern media that quite encapsulates my life. However, one of the biggest discrepancies between my life and the media is the current portrayal of “Asian stories.” I’m half South Asian, and nearly every time I see a movie or television show in the United States that claims to be capturing the “Asian experience,” it’s actually just about East Asians. Always Be My Maybe, Crazy Rich Asians, Fresh Off the Boat, Shang-Chi, Beef, Minari, and more films and shows that I’m encouraged to watch because they “capture what it’s like to be an Asian American” don’t have a single person who looks like me. I 100 percent believe that the stories told in these movies and television shows are important, and I don’t feel like South, Southeast, or Central Asians should have been randomly inserted into them. But just for once, I’d like to see a movie about the Asian experience that lives up to its marketing by actually including characters from more than one region of Asia.

Based on the majority of TV shows and movies that are promoted as “telling Asian stories,” you’d think Asia was only made up of China, Japan, Korea, and sometimes Vietnam. This impacts how Asian Americans like me, whose families don’t come from those countries, are treated. Even the action of casually referring to myself as Asian has led to me needing to open Google Maps to show others that India is in Asia, to “prove” why I can identify that way, and I have never felt comfortable joining organizations such as my school’s Asian Student Union because I feel as though I’m not the type of Asian that it was created for.

I also feel as though the media’s limited idea of who gets to be Asian American has impacted their reporting on hate crimes. When South Asians and Middle Eastern people (many of whom are also Asian) are targeted as “terrorists,” it should also be an issue that the Asian American community and their allies rally together and raise awareness about, just like we showed up to protest the attacks on East and Southeast Asians during the COVID-19 pandemic.

I can’t explain how amazing it was to watch Never Have I Ever and see it front and center on Netflix’s recommended shows during AAPI heritage month. Seeing characters who look like me and my family on a show that was included in a list of media about the “Asian experience,” a marketing tagline which used to only reaffirm my sense of not belonging in the Asian community, makes me smile every time I rewatch it. I hope that in the future, movies and television shows will start to get made that showcase the full range of diverse stories and experiences within the Asian diaspora.

Matthew opines on homeownership:

This will come as a very heterodox viewpoint to the narrative of my generation, but I disagree with the portrayal of home ownership as out of reach for most Americans. My partner and I were making less than $100K combined a year when we bought our home in Dallas. We had been renters our whole lives (mid-30s at the time) and lived in central Dallas in an affordable apartment in a VERY expensive area. Rents kept climbing but we knew we wanted to buy. We eventually looked at much more affordable homes in a slowly gentrifying area that was within five miles of downtown. We paid $225K for our home in 2016 and found our mortgage payment to be less than rent for many of our friends.

Our home needed lots of work. (Still does!!) It’s vintage 1969. No granite countertops, some really ugly carpet and wallpaper, but it’s our project. We’ve been doing bit by bit to make it better. When I hear so many people complain about the affordability of homes, I can’t help but think, “Of course you can’t afford to live where you rent right now!” The narrative that we’re being told is that you should be able to buy a house convenient to the best places in town. It’s not realistic! There are affordable houses available, they just aren’t where you want to live. You might have to sacrifice convenience, location, and amenities.

I realize that there are cities and places that are ABSOLUTELY too expensive and have terrible policies that have made homeownership a real struggle. I am really fortunate to have a good job and was able to afford the many surprise costs of buying a home. But, to constantly reinforce to a whole generation that they CANNOT afford to own a home doesn’t mesh with reality. That dream is possible with adjusting expectations and potentially looking outside your comfort zone.

John believes there is a negativity bias built into media:

The biggest difference between my personal observations and the media’s reported news is just how amazingly good everything really is in our country. Whether you are watching Fox News or reading The Washington Post, you might get the impression that things are very, very bad in America. They aren’t. While there are plenty of negative things to report on, unemployment is low, goods are plentiful, and people have discretionary money to spend.

Typical news quote: “Our country is divided as ever.” No, not really. And if the media wasn’t complicit in the politicians’ efforts to divide us into neat groups, we would be less divided. I have all types on my boat for fishing trips and all are welcome. Trump superfans to LGBTQ, we all have a lot in common, and in my experience, all you have to do to get along with most anyone is be polite and friendly (and maybe avoid political discussions).

But it really is more than that. Our country, somehow, is still behind some of the greatest innovations the world has seen. And our country keeps innovating, and it makes the world a better place. IT devices are reliable and capable in a way that even 10 years ago would’ve seemed impossible. Health care has advances that are simply amazing, helping people not just live longer, but live better lives. This list could just go on and on. What is often lacking, especially from TV media, is context. My spouse and I watch the evening news every day, and she often says, “I needed one more sentence.” Instead of getting that additional context, we get the next sensationalized outrage bait.

Dan and Vicky are curious about the explanation for a demographic shift:

What we see in the media that conflicts with our professional and personal experiences: The apparent frequency of transgenderism—i.e., individuals whose identities conflict with their biological sex. We are in our mid-70s. As children, one of us remembers Christine Jorgensen. That’s it in terms of individuals who are transgender. We had no knowledge of anyone in elementary school, high school, college, or graduate school who seemed to identify as a different gender than their biological sex.

In the ’70s one of us became a police officer, and spent her entire career in law enforcement. She was one of a group of five women who were admitted to the police academy in Seattle. She worked as a patrol officer, in corrections, setting up a marshals service for a county in Washington, as an advocate for abused women going through the court system, and as a juvenile probation counselor. The other one of us went to graduate school in the ’70s, earning a Ph.D. in clinical psychology from Vanderbilt. Then he went to Illinois State University and taught for 30 years. His speciality was children and families. In that time he had a professional practice of psychology, he trained graduate-level counselors, and he was a psychological consultant for numerous community agencies.

Thus, in our professional careers we have seen or consulted for thousands of children and families. We also had children ourselves in the ’70s and ’80s and knew dozens and dozens of their friends, in addition to their schoolmates. In that time, we can, together, tentatively identify only ONE person who appeared to be transgender. One, in 70 years of knowing children and 40 years of working with children and in the community for both of us.

One could argue that transgender people would have kept this to themselves in these decades, but that seems a stretch. We worked with children/adolescents/families on a very intimate basis … hundreds and hundreds of them. We also worked with students and co-workers who were virtually all kind and accepting people. Dozens and dozens and dozens of other professionals, all of whom would have been extremely open and compassionate with any child who would have expressed transgender ideas.

While neither of us denies the idea that there are people whose gender identity does not match their biological sex, the issue is that there seems to be a virtual explosion in numbers. To write this observation off as being due to people being unwilling or unable to communicate their gender confusion in the past does not seem possible given the extremely large number of children and adolescents we have known personally and professionally, and the number of other professionals who we knew well who consulted with us on their most challenging cases. Why? What explains the apparent explosion?

Gary remarks on demonization:

The most jarring thing for me is to see conservatives and liberals painted with such negative “brushes” by the media. I know several people from all viewpoints stretching from very conservative to very liberal. They are all decent people with the good of the nation at heart. Caring for and loving one another is not limited to one political viewpoint.  On one side you hear conservatives explained as uncaring Neanderthals who want a 1950s patriarchy. On the other side you hear liberals illustrated as crazy people whose minds are twisted like pretzels to reconcile all their conflicting ideological views. The media seems unable or unwilling to treat everyone with dignity and respect just for being a human being.

 

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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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