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TAG / 11 PIECES
[AUSTRALIAN-HORROR]
FILM№ 01
Run Rabbit Run gives Sarah Snook a haunted house and not enough script to fill it
Snook carries the film on performance alone, and the film knows this, which is both its strength and the reason it never finds a second gear.
BRONTE HAUGHEY14.10.2025
FILM№ 02
Australian horror found an audience and now it has to decide what to do with it
Talk to Me proved Australian horror could sell globally, and the pipeline behind it is filling with directors who watched that and took notes.
BRONTE HAUGHEY14.05.2025
ESSAYS№ 03
The Philippou brothers came from YouTube and brought the algorithm's pacing with them
Danny and Michael Philippou learned to direct by keeping strangers watching for three more seconds, and that instinct is the engine underneath Talk to Me.
MARA DENG14.08.2024
FILM№ 04
Late Night with the Devil put Australian horror on a talk-show set and the audience did not see it coming
The Cairnes brothers built a 1977 talk show, filled it with a demon, and proved that Australian horror works best when the set is cheap and the writing is not.
BRONTE HAUGHEY22.04.2024
MUSIC№ 05
Cornel Wilczek scored Talk to Me like a party that will not let you leave
The score pushes forward with the momentum of a YouTube video you cannot close, and that restlessness is the whole engine.
KIERAN BOUSTANY22.06.2023
MUSIC№ 06
The score for Godless drags the exorcism through the dirt and leaves it there
The score treats the possession not as spectacle but as a domestic accident, and the flatness is where the horror lives.
KIERAN BOUSTANY28.05.2023
FILM№ 07
Talk to Me found Australian horror's nerve and held it
The Philippou brothers built a horror film out of YouTube pacing and Adelaide geography, and the combination should not work as well as it does.
BRONTE HAUGHEY16.05.2023
ESSAYS№ 08
Australian horror found its voice by refusing to be polite
From The Babadook to Relic to Talk to Me, Australian horror keeps returning to the house, the family, and the thing that should not be let in.
MARA DENG22.11.2022
MUSIC№ 09
The score for Wyrmwood: Apocalypse treats the end of the world like a pub brawl
The scoring budget was nothing, the energy was everything, and the result sounds like a garage band surviving the apocalypse.
KIERAN BOUSTANY26.04.2022
MUSIC№ 10
Relic lets the house do the talking
The house in Relic creaks, drips, and breathes on a frequency that sits just below the one you can name.
KIERAN BOUSTANY10.12.2020
FILM№ 11
The Nightingale and the wound that will not close
Jennifer Kent's second feature is not interested in making its violence comfortable, and that is the whole point.
BRONTE HAUGHEY18.01.2020