Amy Hesketh just did her second podcast with John HorrorDude Ginder for A Horrorfying Blog. In it, they discuss Olalla, Bluebeard, and Dead But Dreaming. Their chat ranges from caring about one’s actors, to *gasp* nudity in the films, and everything in between. So grab a beverage, crank up your heat/cooling, and have a listen!
The first review of Olallahas come out, and it’s great! Here’s an excerpt:
“Thanks to its totally unconventional approach, Olalla is one of the most interesting vampire movies of late – these are not your typical bloodsuckers, but a typical old-fashioned family with a strict hierarchy, its black sheep (Olalla) and forbidden fruits (Ofelia), its enforcers (Felipe) and eccentrics (Erix Antoine as Uncle Bruno) – but all of this isn’t played for laughs (though there are a few) but as a drama with its gory, its violent, its sexy and its fetishistic bits, all set in rather beautifully decorated sets betraying crumbling decadence, carried by a first rate ensemble cast.” (Re)Search My Trash filmsite
We are so very pleased to announce the limited DVD release of Amy Hesketh’s new film, Olalla!
It has been a beautiful struggle making this film, and we’re so grateful to the contributors of the IndieGoGo campaign, and our wonderful fans who helped to make this exciting and ambitious film a reality.
We went even farther in post-production with the special FX, professional color grading, and a professional sound mix. This film is amazing on all levels! You can use the links below to order your copy of the DVD today!
Charles Lonberger of The Beverly Hills Outlook recently published this simply wonderful review of Jac Avila’s Dead But Dreaming. Here’s a sample:
“Avila’s sensibilities are, contrary to this genre’s (vampire) tradition, Baroque, not Gothic. As director, he builds his drama from within his frame, using superimpositions only fleetingly, and is most powerful in his ritualistic stagings (as in his registrations of human sacrifice and the enchained confinement of the vampire Nahara at the film’s conclusion). Given the vastness of his historical tapestry in this production, the fact that Avila’s directorial approach has much more in common with the spaghetti Westerns of Sergio Leone than the mock operatic aesthetic of Visconti, establishes his cinematic pedigree as rooted in popular culture.”