Tag Archives: low budget

horror, Short films

Fix Films presents a new horror short: The Suicide Shift (2025)

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THE SUICIDE SHIFT (2025)

During 2024 I began planning a new short film and was keen to springboard a new horror idea from something simple around the flat I live in. I decided therefore to check out the various props I had and found an old black phone and an hourglass. From those props I began thinking about how the passing of time and communication could be used as a means of creating emotional conflict for the characters and elicit a sense of dread and fear from the audience. From these thoughts I began writing a script that eventually became called The Suicide Shift (2025).

Pre-production for the film took place during 2024 and I put together a really talented cast and crew all with a very low budget. The filming took place at the end of November 2024 over two extremely productive days of shooting. The Suicide Shift (2025) is now in post-production with a release planned for 2025!

Theme and genre

The Suicide Shift (2025) further develops themes of hell, work and being trapped, previously explored in short films, Hell Is. . . (2013) and Inferis (2024). I was inspired to write a film which dealt with suicide. Mainly due to my own personal experience of losing two close friends who took their own life. I am using the film to highlight the tragedy of people who take their life and meditate on the possible reasons such events take place. I am classing the film as emotional horror.

I have set the film in the genre of psychological, supernatural horror as the horror film allows a filmmaker to explore deep themes while also raising emotion and suspense with the audience. The low-budget production relies heavily on performance, actor reaction, silence, and sound, aiming to be both powerfully dramatic and disturbing. It is set in a few locations but was filmed in one place with limited props and cast.

Logline

Banished to the “suicide shift” for breaking spirit call centre regulations, CARMILLA FERRY, now deals with the most tortured of souls moving from this world to the next. After being blasted by her line manager on the phone, Russell, Carmilla is feeling even more isolated and demoralised than usual. After a series of heart-crushing calls, culminating in a particularly stressful shift, Carmilla is then faced with the most heart-wrenching call of all.

Pitch Outline

In mythical days past, the souls of the dead were carried to the other side by Charon the Ferryman. In the present, the handling of souls has now been modernised and is managed by call centres run by managerial bureaucrats and office workers who exist in limbo, somewhere between heaven, hell and the mortal world.

It is the spirit call centre’s job to manage the dying as they pass into the next world. The employees are not allowed to intervene. Only coordinate, process and record death. The workers communicate via a supernatural telecom system which is heard in the mind of the dying. Any worker who intervenes risks having to work alone in ‘Limbo’.

Banished to the ‘Suicide Shift’ for breaking spirit call centre regulations, CARMILLA FERRY, now deals with the most tortured of souls moving from this world to the next. After being blasted by her manager, RUSSELL, on the phone, Carmilla is feeling even more bullied, isolated, and demoralised than usual. Especially because Russell will not let her see her teenage daughter, a mortal named, Lucy. Russell controls everything and watches Carmilla via a CCTV camera and screens.

During a particularly stressful shift, Carmilla has had to deal with a whole night of heart-crushing calls from the dying. Then, in the early hours of the morning Lucy is suddenly put through to Carmilla having taken an overdose at a party. Carmilla must listen as her frightened daughter’s life slowly drifts away, powerless to intervene. The true horror of work and existence dawns on her.

Cast

Julia Florimo as Carmilla Ferry

Myles Horgan as Russell Schaeffer

Felicia Kaspar as Lucy (Carmilla’s daughter)

Crew

Director, Producer and Written by Paul Laight

Cinematography by Petros Gioumpasis

Sound recordist: Ali Kivanc

Clapper / Camera Assistant: Ben Bogdan-Hodgson

Make-Up: Georgie Lang

Set Designer: Melissa Zajk

© 2025 A Fix Films Production

Articles, Cinema, Cult Cinema, My Cinematic Romance, Six of the Best

SIX OF THE BEST #38 – ROGER CORMAN

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SIX OF THE BEST #38 – ROGER CORMAN

Sadly, the uber-filmmaker, Roger Corman passed away on May 9th 2024. But given the longevity of his life and career in films it’s really time to celebrate his life in cinema. To me Roger Corman is a hero because he is a true independent filmmaker, working outside of the Hollywood system producing hundreds of films, many of which were extremely successful financially.

Of course, for a man known as the “King of the B-Movies” not all of the films were the height of artistic merit, however, they were NEVER boring. So many of his films have real invention and a crazy energy. What separates Corman from say Ed Wood is he knew how to tell a proper story on a low budget. Indeed, films such as Little Shop of Horrors (1960) and Death Race 2000 (1976) would latterly get the big-budget Hollywood remake treatment. Further, without Corman’s The Wild Angels (1966) starring Peter Fonda, Hopper and Fonda’s counter-cultural phenomenon Easy Rider (1969) may not have existed.

As well as boosting the careers of Peter Fonda and Dennis Hopper, as a producer Corman also gave starts to Francis Ford Coppola, Jonathan Demme, James Cameron, Sandra Bullock, Robert DeNiro, Jack Nicholson, Martin Scorsese, Pam Grier and many more. Corman did not just have a keen eye for talent, he was canny because he knew that such hungry filmmakers and actors could be “exploited” at a lower cost than bigger Hollywood names.

So, as a mini-tribute I have selected six of the best Corman films I have seen. Rest in peace, Mr Corman – you were a true cult and cinema legend!

LITTLE SHOP OF HORRORS (1960)

Incredibly, this film was shot in three days for $28,000 and would become a cult hit after initially struggling to find distribution. Amazingly, Corman did not expect the film to be successful so he didn’t bother to copyright it. It is therefore in the public domain! I myself saw it recently on Talking Pictures and it is a so entertaining. Look out for a hilarious early performance from Jack Nicholson.

THE INTRUDER (1962)

This is perhaps the most seriously raw and challenging film of Corman’s career. William Shatner portrays charismatic racist, Adam Cramer, a travelling salesman, who becomes hellbent on preventing racial desegregation in a Southern town. It was a landmark film for Corman who decided, “It was more of a lecture. From that moment on I thought my films should be entertainment on the surface and I should deliver any theme or idea or concept beneath the surface.”

MASQUE OF THE RED DEATH (1964)

Three masters of horror for the price of one with Edgar Allen Poe, Corman and Vincent Price, combining to chilling effect in this beautifully filmed period ghost story. Arguably the most artfully directed film of Corman’s career, the cinematography was by one Nicolas Roeg, proving once again Corman was an expert at spotting film talent way ahead of time.

BLOODY MAMA (1970)

Cashing in on the success of period gangster film, Bonnie and Clyde (1967), Bloody Mama (1970) is a gloriously over-the-top chase thriller, with Shelley Winters eating the scenery in a brilliant performance. Robert DeNiro appears at Ma Barkers drug addicted son, Lloyd, showing glimpses of the acting talent that would lead to so many incredible performances. But it is Winters’ film as the “loving” and gun-toting mother who leaves a lot to be desired as a positive parental role model.

DEATH RACE 2000 (1975)

The epitome of a high concept cult movie, directed by Paul Bartel, this features the brilliantly sick idea of racing drivers killing members of the public for entertainment. Full of terrific gore and gallows humour, this is one of those Corman produced films where a bigger budget would have served the action so much better. It was still a massive hit though. The imaginative deaths, cutting satire and demented characterisations from the likes of Sylvester Stallone, Martin Kove and deadpan David Carradine are memorably fantastic. I cannot help thinking Death Race 2000 must have been an influence on The Purge franchise too.

BATTLE BEYOND THE STARS (1980)

Corman’s biggest budgeted film at the time of release at $2 million, this film is both a rip-off of Star Wars and homage to The Seven Samurai, or it is the other way round? The massive budget was essentially due to George Peppard’s and Robert Vaughan’s salaries, both of whom would become stars of The A-Team. If you didn’t know many of the inventive practical special effects were supervised and created by a certain James Cameron, who got his big break as the lead production designer and art director on Battle Beyond the Stars.

Amazon Prime, Cult Cinema, Reviews, Under-Rated Classics

UNDER-RATED CLASSIC #11 – THE SCORE (2021)

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UNDER-RATED CLASSIC #11 – THE SCORE (2021)

Directed by Malachi Smyth

Written by Malachi Smyth

Produced by Matthew James Wilkinson & Ben Pullen

Cast: Johnny Flynn, Will Poulter, Naomi Ackie and Lydia Wilson

Cinematography by Darran Bragg

Music by Johnny Flynn

*** MAY CONTAIN SPOILERS ***

I’m not sure enough people have seen The Score (2021) to even rate it, let alone under-rate it. Because this crime-thriller-musical is a genuine curio and cult classic in my book. The reviews online are very mixed and many of them are correct in saying the film doesn’t work as either a crime film or musical or even a love story. But for some reason I have watched it twice now and really enjoyed it both times. So, for me, it is very much an under-rated classic.

For the record, for me, an under-rated classic can be a film I love, plus satisfy the following criteria:

  1. Must not have won an Oscar.
  2. Must not have won a BAFTA.
  3. Must not appear in the AFI Top 100 list.
  4. Must not appear in the IMDB Top 250 list.
  5. Must not appear in the BFI 100 Great British films.
  6. Must not appear in the all-time highest grossing movies of list.

So, being a massive fan of Johnny Flynn helps to enjoy this film. He wrote and sings, with Will Poulter and Naomi Ackie, the songs from the soundtrack. Plus, he is one of the main leads, portraying a low-level career criminal, not-as-clever-as-he-thinks, Mike. He is planning a “big job” in cahoots with, not-as-stupid-as-he-acts-sidekick, Troy (Poulter) that involves a big score. That is twenty-grand (£) from a previous job Troy’s imprisoned brother hid. Exponential growth is promised from a meet with some proper gangsters for what may or may not be a drug deal. Anyway, nothing is what it seems in this predominantly one-location thriller.

Two misfits waiting for someone who may never arrive, plus the swinging banter between Mike and Troy has vague elements of Waiting for Godot, however, there is an actual crime plot slowly burning here. As they wait impatiently at a remote cafe writer-director, Malachi Smyth, throws in some eccentric visitors plus a supporting romance plot, with Troy connecting awkwardly at first, then touchingly with cafe employee, Gloria (Naomi Ackie). Indeed, their attraction and subsequent connection virtually becomes the main narrative thrust of The Score (2021), before the final crime twist brings the action to a violent head.

Oh, do not forget the singing too. Dennis Potter had his characters lip-sync to old musical classics to reveal their emotions, and was proclaimed as genius for it. Here Malachi Smyth uses Flynn’s fantastic compositions to do a similar job. I admit it is a bit weird and jarring at first, but Flynn, Poulter and Ackie carry the tunes well for me and it adds another element to an unusual film experience. Ultimately if someone watched The Score (2021) and said it does not work at all, I couldn’t argue with them. However, I really loved it and constantly listen to the soundtrack I downloaded. I also have a soft spot for indie filmmakers, daring to fail while trying something different.

Cinema, Reviews, Under-Rated Classics

UNDER-RATED CLASSICS #9 – WILD BILL (2011)

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UNDER-RATED CLASSICS #9 – WILD BILL (2011)

Directed by: Dexter Fletcher

Produced by: Tim Cole & Sam Tromans

Written by: Dexter Fletcher, Danny King

Cast: Charlie Creed-Miles, Will Poulter, Liz White, Sammy Williams, Charlotte Spencer, Leo Gregory, Neil Maskell, Iwan Rheon, Olivia Williams, Andy Serkis etc.

Music by: Christian Henson

Cinematography: George Richmond

***MAY CONTAIN SPOILERS ***

With so much British filmmaking talent behind and in front of the camera being absorbed by the big film and television studios in America, and the lack of cash within the British film industry too, it’s rare that a British film gets made and then distributed properly. Even if a film such as the earthy London-set crime drama, Wild Bill (2011), does find its way to British cinemas it can be cruelly enveloped by the Hollywood film behemoth, swallowed up at the multiplexes and seen by very few popcorn guzzlers. Which is a damn shame as Wild Bill (2011) is a tidy, low-budget, and extremely under-rated classic in my book. Made for just £700,000 and directed by the now in-demand actor-turned-filmmaker, Dexter Fletcher, the film marries family conflict, humour, violence, South London gangsters all in a moving tale of redemption.

For the record, for me, an under-rated classic can be a film I love, plus satisfy the following criteria:

  1. Must not have won an Oscar.
  2. Must not have won a BAFTA.
  3. Must not appear in the AFI Top 100 list.
  4. Must not appear in the IMDB Top 250 list.
  5. Must not appear in the BFI 100 Great British films.
  6. Must not appear in the all-time highest grossing movies of list.

Unfortunately, Wild Bill (2011), does not meet any of these criteria. In fact, not many people have even heard of the film, let alone seen it. But it’s on Netflix so do try and catch it. Read on for some reasons why.

The main character nicknamed, portrayed by the excellent character actor, Charlie Creed-Miles, is the titular “Wild Bill”. He has just been released from prison having been a dealer and fighter and general menace to society. There is immediately tension because you wonder if the man will return to his bad old ways. Surprised to find his wife has buggered off to Spain, Bill is hardly given a warm welcome by his older son, Dean, as Will Poulter give another very mature performance. Indeed, Dean hates Bill, and while he is only fifteen, he has been the breadwinner looking after his young brother, Jimmy (Sammy Williams). Forced to stay together by Social Services, much of the film finds the father and son resisting, then attempting to find some common ground. The attempts at family harmony are not aided by the career thugs, including Leo Gregory and Neil Maskell’s characters, attempting to get Bill back on their crack dealing crew. It’s during such struggles that Bill strives to be positive and not return to his violent ways. However, there is only so far a man can be pushed.

Wild Bill (2011) is beautifully filmed with some fantastic London vistas as well as some gritty, urban locations to savour. Sure, the film also has a familiar set of character archetypes and narrative tropes. These include the ex-con trying to go straight, the tart with a heart, the local drug dealers terrorizing the estate, a teenage mum, estate kids getting pulled into crime, the white dealer who thinks he’s black; and the “Mr Big” crime boss played with threatening glee by Andy Serkis. Yet, the characters never become stereotypes as the writing and narrative avoid most of the cliches usually present in plain bad cockney gangster films. Ultimately, the writers, director and actors really make us care about Bill and his boys. I mean, after many false starts he really tries to make a go of it as a father. Bill may not have always made the best decisions in life, but he has guts and heart; very much like Wild Bill (2011) as a whole.

Articles, New Releases, Short films, YouTube Video Articles

YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM YOUTUBE RELEASE

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YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM RELEASE

Hope you are well and safe!

Finally, I have decided to release my short film, You Have A New Follower (2020) on YouTube. It has been delayed due to the pandemic and other personal matters. It got several screenings at online and physical film festivals, however, not as many as hoped due to the outbreak of COVID-19.

I am very proud of the film as I have attempted to explore issues relating to mental health within the thriller genre. I hope it intrigues and interests you too. Below is link to the film and after that the credits and further film details.

You Have A New Follower (2020) – Fix Films Ltd

PITCH

“Watch your back…”

Astrid Nilsson’s life begins to unravel when she is stalked by a mysterious hooded figure.

You Have a New Follower (2020) is the latest short film from Paul Laight and Fix Films. It was shot in London and combines mystery, suspense and science fiction genres with dramatic effect. It’s a short, low-budget film which seeks to explore themes of paranoia, anxiety, and identity within the thriller genre.

CAST & CREDITS

Directed by: Paul Laight & Tilde Jensen
Cast: Tilde Jensen, Mitchell Fisher
Written and Produced by: Paul Laight
Camera: Petros Gioumpasis
Lighting: Sakis Gioumpasis
Sound: Marina Fusella
Editors: Oliver McGuirk, Petros Gioumpasis
Composer: James Wedlock
Sound Design: Simos Lazaridis
Location Manager: Melissa Zajk
Production Assistant: Lue Henner

SCREENINGS

The Fix Film Night, London – February 2020
Cineshots, London – March 2020
Lift Off Sessions, UK – March 2020 (Online)
Fabulosis Short Film Night, London – May 2020 (Online film night) Unrestricted View Horror Festival, London – October 2020 – (Online festival)
Horror of Damned, Italy – November 2020 (Online festival)
Lulea International Film Festival, Sweden – November 2020 – (Online in 2020 and hopefully in Sweden in September 2021)

Website: www.fixfilms.co.uk
YouTube: www.youtube.com/c/FixFilmsLtd

A FIX FILMS PRODUCTION © 2020

Cinema, Films That Got Away, music, Reviews

FILMS THAT GOT AWAY #9 – ONCE (2007)

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FILMS THAT GOT AWAY #9 – ONCE (2007)

Written and directed by: John Carney

Produced by: Martina Niland

Cast: Glenn Hansard, Marketa Irglova

Original songs by: Glenn Hansard, Marketa Irglova and Interference.

Cinematography: Tim Fleming

**** MAY CONTAIN SPOILERS ****

I am not sure why I missed this film first time around, however, it’s most likely due to prior prejudices against musical or music-based films. Yet, since I married in 2016, I have began to watch and enjoy more musicals. This is mainly due to my wife being a massive fan of musical cinema and theatre. While it’s still not necessarily my favourite genre, every now and then an utter gem of a musical will emerge. John Carney’s beautifully moving love story between a hoover repair guy and a flower-selling girl, Once (2007), is certainly one of those.

John Carney is an honest filmmaker who is attracted to outsiders and people with real emotional turmoil. They tend to be at crossroads in their lives and are struggling either with their dreams or their relationships. He also loves musicians, flaws and all. In Begin Again (2013), a washed-up musical executive, portrayed by Mark Ruffalo, meets unhappy singer-songwriter, Keira Knightley and their first-world romance is played out to bittersweet consequences. Similarly, in Sing Street (2016), a troubled teenager comes of age through his 1980’s pop band and bittersweet romance with a rebellious and equally-troubled schoolgirl. Notice a pattern? Well, this style of music, gritty city backdrops and salty romances were established in Carney’s breakout hit, Once (2007).

Made for a ridiculously low budget of around $150,000, this ultra-realistic musical contains songs that burst with love and pain from the characters of Guy (Glenn Hansard) and Girl (Marketa Irglova). The two meet and connect, but this is no conventional romance as they both have powerful emotional histories between them. It’s the beautiful music and their authentic dialogue exchanges which drive the story. Hansard’s singing and guitar playing are so powerful and moving. Their duet in the music shop of the song, Falling Slowly is a tour-de-force. I was not surprised when I saw it had won the Oscar for best original film. Overall, Once (2007) is a surprisingly brilliant no-budget feature, shot on the streets of Dublin, which deservedly became a big hit.

Mark: 9 out of 11