THE WORLD IS FULL OF SECRETS Trailer: Graham Swon's Feature Debut Opens in New York on Hallowe'en
We are doing a little bit of catch up today. The trailer for Graham Swon's The World is Full of Secrets dropped a while ago but should be worth reminding you all again about it.
The idea of a horror flick without monsters or bloodsheed seems impossible for a horror flick these days. However, masters of old wrote horrific tales without having to resort to flash and gash so Swon may be onto something here.
The World is Full of Secrets opens on October 31st at Anthology Film Archives in New York City.
An old woman's voice recalls a terrible event from her distant past: on a summer night in 1996, five teenage girls meet in a suburban house, absent of parental supervision. To pass the time, they begin to tell morbid stories of the world outside, trying to best one another in a grim competition. As the night becomes darker and their play becomes more serious, their world of fiction is consumed by reality in this feverish Decameron-in-miniature.Graham Swon (co-producer on Ted Fendt’s SHORT STAY, CLASSICAL PERIOD, Matías Piñeiro’s HERMIA & HELENA, and Ricky D’Ambrose’s NOTES ON AN APPEARANCE) drew inspiration from ancient Greek theatre and cultural impact and form of radio for his affecting award-winning directorial debut. THE WORLD IS FULL OF SECRETS has screened at BAMcinemaFEST, Indie Memphis, Sarasota Film Festival and the Champs-Élysées Film Festival in Paris.The film stars Ayla Guttman, Alexa Shae Niziak, Dennise Gregory, Violet Piper and Elena Burger. Swon wrote and produced the film, which is co-produced by Lio Sigerson and Bart Cortright, who also acted as cinematographer.“This non-gory horrific tale without monsters or bloodshed is probably the most poisonous and scary US film produced in the recent years. Inspired by Southern Gothic's dark romanticism, shot with acute minimalism, this film conjures up the best contemporary horror writers (such as Brian Evanson, Thomas Ligotti or Lisa Tuttle) with its hypnotic narration, its stylised grammar, both elegant and brutal, and its existential and metaphysical terror. In a gesture that reminds one of Warhol, Graham Swon prints on the young girls' faces an ancestral violence inherent to the American culture, and puts the spectators in a torpor from which they will unheartedly depart.”- Victor Bournérias,Entrevues Belfort International Festival du Film