Following his BAFTA-nominated breakthrough feature London to Brighton (2006), writer-director Paul Andrew Williams dabbled in horror-comedy and thriller territory with The Cottage (2008) and Cherry Tree Lane (2010). Then came a fairly surprising switch to inspirational drama with Song for Marion (2012), the sweet tale of a grumpy pensioner honouring his recently deceased wife’s passion for performance by joining her former local choir. Williams has kept producing films and directing television – including Broadchurch, A Confession and The Eichmann Show – but Bull is his first feature as director to play on the big screen in nearly a full decade.
It’s a striking return to the mode of film he first broke out with, while also expanding his palette with a slippery, supernatural edge to proceedings. British character actor favourite Neil Maskell takes centre stage as the eponymous Bull, who returns to his home town after a decade’s absence. Once an enforcer, he’s seeking violent revenge on former gangster associates, including David Hayman’s Norm and Tamzin Outhwaite’s Sharon, who double-crossed him all those years back.
With Bull out now, we chat to Andrew Williams and Maskell about the thriller and the current state of British independent film…
Full interview for VODzilla.co
Shot and seemingly set during late 2020, Rob Savage’s Host follow-up, Dashcam, is a similarly short horror that also uses a ‘screen-life’ aesthetic…
Full review for SciFiNow
Saint Maud, the acclaimed horror darling of the past year’s festival circuit, finally reaches British cinemas on a wave of hype – despite release delays owing to the COVID-19 pandemic. As the debut feature of British writer-director Rose Glass, the psychological drama follows Maud (Morfydd Clark), a reclusive, pious hospice nurse with a dark past, who becomes dangerously obsessed with a perceived higher purpose and her latest patient in a seaside town: Amanda (Jennifer Ehle), a hedonistic and embittered retired dancer who’s dying of cancer.
Glass has pointed to Taxi Driver as a specific influence on Saint Maud’s structure, with both sharing narration by the increasingly volatile protagonist. She also pays homage to Martin Scorsese’s film with at least two specific shots. “Generally any stuff that I felt that, in some way, I shouldn’t be watching, I wanted to watch,” she says of her burgeoning enthusiasm for left field cinema in her early teen years in the 2000s, which included films by David(s) Lynch and Cronenberg, Hideo Nakata (Ring), Takashi Miike (Visitor Q) and Fruit Chan (Dumplings).
To mark Saint Maud’s UK release, Huck spoke to Glass at this year’s Glasgow Film Festival – in an interview that originally took place back in March – about making an empathetic genre movie concerning mental illness, body horror, and the extreme places the human mind can take us…
Full interview for Huck