PREVIEW: Blood Covenant (2026 Film) - Stars Joe Keery, Maika Monroe, Aria Bedmar, Agustín Olcese, María Eugenia Rigón and Bruno Giacobbe

 

By Jon Donnis

Black Mandala has unveiled Blood Covenant, a demonic horror film shaped by a strikingly collaborative vision. Directed by Mariano Cattaneo, Spencer Keller, Kate Trefry, Bret Miller, Javier Yañez and Hasan Can Dağli, the film leans into obsession, ambition and the price of creation, all filtered through a dark supernatural lens.

At its centre is a horror writer who has fallen apart. Once full of promise, he now finds himself buried under debt, creatively empty and close to losing everything. With nowhere else to turn, he carries out an occult ritual that summons a demon offering what he wants most. His lost inspiration returns, and the stories begin to flow again, but the gift is poisoned from the start. Each new piece of work demands a sacrifice, measured in flesh, binding success directly to suffering.

As his reputation grows, so does the cost. Fame arrives alongside physical decay and moral collapse, until creativity and pain become impossible to separate. The film treats inspiration as something dangerous and consuming, asking how far someone might go to be heard again, and what remains when the price has been paid too many times.

Blood Covenant features an ensemble cast drawn from across international genre cinema. Joe Keery, Maika Monroe, Aria Bedmar, Agustín Olcese, María Eugenia Rigón and Bruno Giacobbe bring the story to life, grounding its supernatural horror in raw, human desperation.

Interview with Craig Conway - Director of Red Riding

 

Ahead of the World premiere of RED RIDING, a horror-thriller that reimagines the classic Little Red Riding Hood fairytale, screening at FrightFest Glasgow 2026, director Craig Conway reflects on dark explorations, industry challenges, and championing the Northeast.

RED RIDING is a morally complex, unsettling reimagining of Little Red Riding Hood. What drew you to the project?

I wasn’t interested in retelling a fairy tale, I was interested in what the story doesn’t say. Red Riding is about survival, power, and the moment innocence fractures. The brilliant Peter Stylianou with whom I worked with on "Drained" had written and created an exciting script and concept which after working together with producer Daniel Patrick Vaughn back and forth seemed to take it somewhere truly special, dark but special. The fairy tale framework gave us permission to explore the themes without softening them.

I’m always drawn to stories that sit in the grey, where there are no clean heroes or villains. This film isn’t about punishment or morality; it’s about what people become when they’re forced to endure and Horror lets you tell emotional truths without asking for permission.

This is your feature directorial debut. What stands out looking back?

Directing a feature taught me that leadership is emotional, not technical. The job isn’t just about framing shots, of course that's also integral to it but it’s about creating an environment where people feel safe enough to take risks.

Coming from acting, I was very aware of how exposed performers can feel. I carried that responsibility seriously. If Red Riding works, it’s because everyone involved trusted each other to go to uncomfortable places together and cast and crew alike were more than willing on this project.

Was there a scene that was particularly challenging or meaningful to bring to life?

The quiet moments were the hardest. Without giving too much away, there are scenes where nothing “happens” on paper, but everything is happening underneath. Those moments live or die on restraint.

In horror, there’s a temptation to push, to escalate, explain or underline. I wanted to do the opposite. The most unsettling things are often what you’re left alone with.

How important was location and atmosphere in shaping the film’s tone?

Atmosphere wasn’t decoration it was the foundation. The landscape needed to feel indifferent, isolating and slightly hostile.

The Northeast for the first section of the film gave us that truth for free. Filming Reds original home in the area I grew up in was also a way for me to connect personally on the journey I was actually looking to capture. 

When we moved to Scotland near Nairn on the estate for the main block it added even more honesty to the story, so it doesn’t flatter you and it doesn’t apologise that suited the film perfectly and actually became another character in and of itself.

Victoria Tait gives a striking debut performance as Redelle. How did you discover her?

Victoria has an extraordinary stillness. She doesn’t signal emotion, she allows it. That’s incredibly rare, especially in a debut lead. From the many incredibly talented actresses we saw, Victoria connected in a way I've not seen before.

She was fearless in her approach. She didn’t try to make the character likeable or palatable. She trusted the material and committed fully and that integrity is what makes the performance resonate. She's a true talent that's for sure.

Victoria Tait (centre) in RED RIDING

FrightFest audiences know you as an actor from films like Dog Soldiers and The Descent. Do you still plan to act, and is horror still important to you?

Acting will always be part of me but directing feels like a natural evolution as it has for producing features. It allows me to shape stories from the inside out rather than from a single point of view.

As for horror, I don’t think of it as a genre so much as a language. It’s a way of talking about fear, power and identity without pretending things are neat or safe.

You’ve worked closely with Neil Marshall over the years. How did he come on board as a producer?

Neil Marshall has been a huge part of my career, and my life to be honest, so his involvement came from trust rather than strategy. He understood the film immediately and backed it without trying to reshape it. For a first-time feature director, having that kind of support without interference is invaluable.

You’ve founded CM3 to support filmmaking in the Northeast. What are your ambitions for it?

CM3 (Creative Motion) exists because talent shouldn’t have to leave home to be taken seriously. We’re focused on building a sustainable ecosystem supporting emerging voices and creating  pathways for creatives and students.

It’s about infrastructure as much as storytelling. Red Riding is proof that ambitious, challenging films can be made outside traditional centres if the support system is there and it's imperative we support the independent sector not just with horror but across all genres if we are to keep finding new talent.

How has your relationship with the industry changed over time?

Early in my career, I waited for permission. Now I’m beginning to build the work I want to see.

The hardest lesson was realising that longevity doesn’t guarantee agency. You earn that by being clear about who you are and what you’re willing to fight for. Once I stopped trying to fit into the industry’s expectations, my relationship with it has become far healthier.

Finally, what’s next?

More directing, producing, acting and more building. I’m developing further projects that continue to explore human stories through genre, while expanding the production infrastructure in the Northeast. For me, the goal now is sustainability, creative, personal, and regional. My aim isn’t just to make films, it’s to make a future where films can keep being made.

RED RIDING is showing at the Glasgow Film Theatre on Sat 7 March, 5.30pm, as part of FrightFest Glasgow 2026.  Craig will be attending.

REVIEW: Primate (2026 Film) - Starring Johnny Sequoyah, Jessica Alexander, and Troy Kotsur

Primate opens with a brutally effective scene that makes its intentions clear. In a remote part of Hawaii, a veterinarian is killed by a pet chimpanzee in a moment of shocking violence. It is a blunt, ugly start, and director Johannes Roberts never really lets the film soften from there.

The story then rewinds to follow Lucy, a college student returning home after years away, bringing friends with her to an isolated cliffside house. The location is instantly striking. Built into rock and surrounded by open space and sheer drops, the house feels impressive but exposed. That sense of vulnerability becomes central once Ben, the family’s unusually intelligent chimpanzee, begins to behave erratically after being bitten by a rabid mongoose.

Ben is the film’s greatest strength. Taught to communicate through a tablet created by Lucy’s late mother, he already feels uncanny before the horror escalates. Once the rabies takes hold, that intelligence turns him into something far more dangerous than a typical animal threat. He is not just violent but calculating, stalking the house and exploiting its layout with alarming ease. Every scene involving Ben crackles with tension, and he dominates the film in a way few creature features manage.

Roberts keeps the storytelling lean and vicious. There is little interest in character development beyond what is strictly necessary. Instead, the film focuses on sustained pressure and escalation. The extended pool sequence is particularly effective, using Ben’s inability to swim to create a cruel stalemate that feels both inventive and nerve shredding. The kills are graphic, efficient, and unapologetic, leaning fully into slasher territory.

The cast largely exists to be placed in danger, but the performances do what is required. Johnny Sequoyah gives Lucy enough presence to anchor the chaos, while Troy Kotsur adds weight as Adam, the deaf father whose delayed understanding of the danger heightens the tension. The film’s final moments, especially the use of Ben’s soundboard in the aftermath, provide a chilling note rather than emotional release.

Primate does rely heavily on familiar horror clichés. Isolated locations, poor decisions, and disposable characters are all present. The film makes no effort to disguise this and seems comfortable with its lack of originality. The narrative is thin, and if the momentum ever slowed, it would quickly unravel.

Thankfully, it never does. At under 90 minutes, Primate moves at a relentless pace that prevents overthinking. It is a straightforward, visceral B movie with a solid budget and a clear focus on delivering tension, gore, and entertainment. There is little depth, but plenty of bite.

Primate is not subtle, clever, or especially original. What it is, however, is sharp, nasty, and highly efficient. For horror fans looking for a fast, brutal thrill, it scratches the itch.

I score Primate a generous 7.5 out of 10.

Out Now - https://apple.co/4pyarJY

PREVIEW: The Behemoth (2026 Film) - Starring Sarah Dawes, Ryan Wichert, Beatrice Fletcher, Johnny Vivash, Wilfried Capet, Alison Harris, Max Evans, Thilo Gosejohann and Stephanie Dickson

 

By Jon Donnis

Black Mandala is preparing to unleash The Behemoth, a bleak and unsettling cult horror from director Kai Edmund Bogatzki that leans heavily into atmosphere, dread and cosmic unease. Set in the frozen isolation of a remote mountain ski resort, the film uses snowbound silence and brutal landscapes to frame a story where faith curdles into fanaticism and ancient beliefs refuse to stay buried.

At its centre are Rebecca and Ryan, who escape to a secluded cabin hoping for rest and reconnection. Their refuge appears safe enough at first, thanks to Christine, a warm and reassuring host who seems eager to help them settle in. That calm quickly fractures as disturbing incidents begin to surface, all linked to a long dormant cult known as the Servants of Blood. What starts as a quiet retreat slowly becomes something far more dangerous and deeply personal.

Christine’s own attempt to flee a toxic relationship takes a horrifying turn when she is abducted and prepared for an apocalyptic ritual. As Rebecca searches for answers, she uncovers a far more troubling truth. She and Ryan are not accidental bystanders but vital components in the cult’s carefully planned design. The realisation shifts the story from survival horror into something more existential, where choice, belief and responsibility blur in frightening ways.

The film’s descent into full cosmic horror arrives with the birth of Behemoth itself, an ancient demon brought forth through blood and devotion. Once unleashed, the creature turns savagely on those who summoned it, tearing through followers with brutal indifference. Rebecca is left with an impossible task. To live, she must confront her own inner darkness, betray the belief system that trapped her, and face the monstrous force she helped bring into being.

The Behemoth promises an uncompromising experience rooted in Lovecraftian mythology, where blind faith leads only to ruin and salvation comes at a devastating cost. Its impact has already been felt on the festival circuit, earning Best International honours at the Nashville Horror Film Festival, Best International Feature at Dark Matters Film Festival, multiple awards at Haunted House FearFest including Best Horror Feature and the Grim Reaper Award, and recognition for Best Mutilation Scene at Fright Nights.

With a cast that includes Sarah Dawes, Ryan Wichert, Beatrice Fletcher and Johnny Vivash, and direction from Kai E. Bogatzki, The Behemoth positions itself as a stark, ferocious exploration of devotion, desperation and the horrors that emerge when humanity searches too hard for meaning in the dark.

Coming Soon.

REVIEW: Dracula (2026 Film) Starring Caleb Landry Jones

 

Luc Besson’s Dracula is a bold, visually sumptuous reinvention of familiar gothic territory, placing romance at the forefront rather than pure horror. The story spans centuries, opening with Prince Vladimir of Wallachia renouncing God after the death of his wife Elisabeta in battle. From the first scene, the film commits to portraying Dracula not just as a monster, but as a man hollowed by grief, driven by obsession, and sustained by the hope of finding his lost love reborn.

The emotional heart of the film is its greatest strength. Caleb Landry Jones delivers a mesmerising, committed performance as Dracula, presenting him as an anti-hero rather than a conventional villain. Sympathy for him is clear, even amidst gore, bloodshed, and moments of graphic horror. These elements underline the tragedy of a man who has damned himself for love, and the balance between romance and horror is handled with unexpected finesse, producing a melancholic rather than terrifying tone.

Visually, the film is consistently stunning. The sets, costumes, and cinematography are lavish and precise, from the shadowed halls of Dracula’s castle to the bustling streets of revolutionary Paris. Makeup and prosthetics are detailed and striking, with bloodwork and decapitations rendered with confidence. Danny Elfman’s score weaves everything together, enhancing the sense of doomed romance while elevating key emotional moments without overwhelming them.

Zoë Bleu brings quiet vulnerability to both Elisabeta and Mina, making the idea of love transcending time believable. Matilda De Angelis is compelling as Maria, one of Dracula’s vampiric followers, and Christoph Waltz adds gravitas as the priest who confronts Dracula with the possibility of repentance and eternal damnation. The final act lands with genuine emotional weight and stays true to the film’s central themes.

The film’s main weaknesses lie in its length and occasional casting choices. At over two hours, the pacing slows in the middle, and a tighter edit would have sharpened its impact. Caleb Landry Jones’ performance is intense and memorable, yet his slightly slight physique at times undermines the mythic presence traditionally associated with Dracula, even if his emotional depth largely compensates.

Despite these flaws, Dracula is a striking, heartfelt reinterpretation. The romance and horror balance works, the story remains emotionally grounded, and the visuals and effects are first-rate. It may not redefine the genre, but it is a bold take on an immortal story that lingers longer than expected.

I would give Dracula an 8.5 out of 10.

Coming to Cinemas February 2026.

FrightFest Brings Three Days of Horror Back to Glasgow in 2026

 

FrightFest returns to the Glasgow Film Festival for its 21st year with three days of horror, fantasy and genre cinema, running from Thursday 5 March to Saturday 7 March 2026. Once again the event will take over the Glasgow Film Theatre, continuing its long-standing place within the festival calendar.

The UK’s leading horror and fantasy showcase promises a packed programme of global discoveries. Across the three days there will be eight feature films, five of them world premieres, alongside a short film showcase dedicated entirely to filmmakers from the UK and Ireland. The event continues its reputation as the country’s most enthusiastic celebration of genre cinema, built around shared gasps, laughs and screams.

The Curse

FrightFest co-director Alan Jones said the festival has spent more than two decades programming films designed for a collective audience experience at Glasgow Film Festival. He added that this year’s selection aims to innovate and challenge while showcasing both feature films and shorts from some of the most imaginative voices working in the genre.

The event opens on Thursday night with the world premiere of JAILBROKEN, a high-pressure action thriller directed by Vasily Chuprina and set entirely within a single prison cell. The film is rooted in Scottish production talent and features a cast led by David Hayman, Bryan Larkin, Shauna MacDonald and Armin Karima. Chuprina, along with members of the cast and crew, will attend the screening.

The two-day FrightFest pass programme begins on Friday 6 March with the UK premiere of BURY THE DEVIL, a fast-moving and twist-heavy mystery that offers a fresh take on the exorcism genre. This is followed by the world premiere of Howard J. Ford’s creature feature BONE KEEPER, a survival story set deep inside a remote cave system. Ford will return to Glasgow to introduce the film alongside cast members.

Bone Keeper

Later on Friday comes the UK premiere of BOORMAN AND THE DEVIL, a documentary directed by David Kittredge examining the troubled production and lasting legacy of Exorcist II: The Heretic. The film features interviews with John Boorman, Linda Blair, Louise Fletcher and others connected to the infamous sequel.

The main Friday evening presentation is the UK premiere of Glenn McQuaid’s sci-fi horror comedy THE RESTORATION AT GRAYSON MANOR. Blending camp horror with classic monster movie influences, the film will be introduced by McQuaid alongside stars Alice Krige and Chris Colfer. The night concludes with the UK premiere of Kenichi Ugana’s THE CURSE, a sharp satire that updates the idea of cursed media for the age of addictive internet algorithms.

Saturday opens with the international premiere of Connor Marsden’s VIOLENCE, a visceral and fast-moving love story powered by punk energy and action-horror intensity. FrightFest then presents its second SHORT FILM SHOWCASE, continuing a strand launched last year that highlights emerging directors from the UK and Ireland. All participating filmmakers and several cast members will attend, marking a celebration of new talent.

Boorman and the Devil

The afternoon continues with the UK premiere of THE CONVENIENCE STORE, directed by Jiro Nagae and adapted from the Chilla’s Art game. Kotona Minami stars as a night-shift worker confronted by terrifying events in a seemingly ordinary Japanese convenience store.

Saturday evening begins with the world premiere of RED RIDING, Craig Conway’s directorial debut which reimagines the Little Red Riding Hood story in a contemporary horror-thriller setting. Conway will attend alongside executive producer Neil Marshall and members of the cast. This is followed by the UK premiere of KARMADONNA, a dark dystopian fable directed by Aleksander Radivojević that blends extreme violence with social commentary on religion, greed and modern life.

Karmadonna

The festival closes with DEATHKEEPER, an Australian fantasy horror film directed by Tristan Barr and adapted from the novella series by Vasilios Bouzas. The film promises an unsettling and mysterious atmosphere to bring FrightFest 2026 to a close.

FrightFest passes are priced at £88 and go on sale at 10am on Friday 16 January 2026. Passes will be exchanged for wristbands before the first screening on Friday 6 March and are valid for films on Friday and Saturday only. Tickets for the Thursday night film JAILBROKEN, along with individual tickets for Friday and Saturday screenings, go on sale to CineCard and CineCard+ members from 10am on Friday 23 January, with general sale starting at 10am on Monday 26 January 2026. Individual tickets are priced at £12, or £9.60 for concessions. The Thursday night screening is not included in the FrightFest pass and requires a separate ticket.

REVIEW: The Running Man (2025 Film) Starring Glen Powell

 

Edgar Wright’s 2025 take on The Running Man brings Stephen King’s dystopian world into a sleek, modern action thriller, though it is a curious mix of spectacle and missed opportunity. Set in a near-future United States dominated by a media network that distracts the poor with violent game shows, the story follows Ben Richards, played with steady charm by Glen Powell, who is forced into the deadly competition to save his sick daughter. Powell gives the character grit and heart, making him both relatable and compelling as he navigates a landscape filled with professional hunters and a bloodthirsty audience. Josh Brolin delivers menace as Dan Killian, the charismatic producer who manipulates the show for ratings, while Lee Pace’s masked Hunter, Evan McCone, offers a cold, calculated threat that keeps the tension sharp. Supporting roles from Michael Cera, Emilia Jones, and William H. Macy inject humour and humanity amid the chaos.

The film is undeniably entertaining. Wright delivers striking set pieces, from explosive firefights in Boston to high-speed chases through New York and tense sequences in isolated bunkers. Cinematography and visual effects give the world of The Running Man a polished, futuristic edge, and the pacing rarely relents. The narrative balances personal stakes with social commentary, touching on economic disparity and media manipulation without feeling overly heavy-handed. Ben’s journey builds to a satisfying climax, with a confrontation that offers both justice and catharsis.

However, the remake has its flaws. Dialogue rarely lingers in the memory, and the villains, though competent, lack the flamboyance of the 1987 version’s antagonists. Much of the humour and camp that made the original so memorable has been stripped away, leaving a more serious but less distinctive tone. Occasional modern political commentary feels forced, undercutting the otherwise thrilling spectacle. For fans of the original, the remake feels safe and overly polished, removing much of the charm that earned the first film its cult following.

The Running Man is slick, packed with action and anchored by strong performances, but it suffers from losing the soul of its predecessor. It works as a popcorn thriller and is enjoyable in its own right, yet it raises the question of why a remake was needed when an original dystopian action story could have delivered the same excitement. Still, it remains an entertaining watch, deserving a solid 7 out of 10.

Out Now on Digital

https://apple.co/4q4pprK

REVIEW: Predator: Badlands (2025 Film) Starring Elle Fanning and Dimitrius Schuster-Koloamatangi

 

Predator: Badlands arrives with plenty of expectation, and it mostly earns it. Dan Trachtenberg knows how to make this universe feel gritty, textured and alive, and the seventh entry opens with a confident swagger. What unfolds is a curious mix of spectacle, character work and franchise reinvention that thrills at times and makes you sigh at others.

The story follows Dek, a Yautja runt who has never gained his father’s approval and is exiled to the savage world of Genna. The film wastes no time plunging you into its darker corners, where the hostile flora and dense atmosphere make every step feel perilous. Dek’s uneasy partnership with Thia, a damaged Weyland Yutani synthetic played with real emotion by Elle Fanning, provides the film’s strongest thread. Their bond develops as they face the Kalisk, a regenerating apex predator that delivers the film’s most intense action sequences. When Dek finally confronts the creature, loses, survives and ends up in corporate captivity, the sequence carries surprising heart, helped by Dimitrius Schuster Koloamatangi’s quiet resolve.

Visually, the film is striking. Practical effects blend seamlessly with digital work, and Genna’s wide-open vistas feel genuinely dangerous. The fights are clear, tight and impactful, and even the lighter buddy elements land effectively, particularly thanks to Bud, a native creature that ties several plot threads together.

The problem emerges when the film’s place within the franchise is considered. The script relies heavily on familiar sci-fi beats, and some scenes feel lifted from other adventures rather than offering something fresh. More significantly, the Predator is recast from menacing apex hunter to sympathetic underdog, pushing the film into buddy-movie territory. That tonal shift will jar older fans, as it softens the creature’s legendary edge in ways that feel deliberate but blunt its historic menace.

Taken on its own, the adventure works. Taken in the context of the franchise, it struggles. Predator: Badlands is entertaining, heartfelt and packed with strong action, but it is the wrong fit for the badge on the poster. Turning a once-terrifying monster into a troubled youngster evokes the image of a small, nervous dog compared with the brutal force of the 1987 original.

It is still a fun ride, and for what it is, it deserves a 7 out of 10.

Out in Cinemas Now.

Apple TV - https://apple.co/3Mwbuwd

PREVIEW: Lily’s Ritual (2026 Film) - Starring Maggie García, Patricia Peñalver, Elena Gallardo, Eve Ryan, Mike Fajardo and Antea Rodríguez

By Jon Donnis

Released by Black Mandala, Lily’s Ritual is a haunting folk horror film directed by Manu Herrera and set against the dark mysticism of late 1990s Spain. Rooted in atmosphere and unease, the film draws its power from silence, ritual, and the slow realisation that faith, when left unquestioned, can become something monstrous.

The story unfolds in 1999 as four friends retreat to a secluded cabin deep within the forest. What begins as a spiritual initiation soon curdles into something far more disturbing. Witchcraft, sacrifice, and betrayal surface as the true intent of the gathering reveals itself. A demon as old as the world is summoned, and blood will be spilled.

Set during the autumn equinox near Madrid at the end of the 20th century, the film follows Lily, a pale and withdrawn young woman travelling with her friends to a remote woodland cabin. She believes she is there to be initiated into witchcraft. As preparations are made and night falls, the ritual begins. When Lily collapses mid ceremony, she later awakens bound, injured, and alone. She does not yet understand that she herself has been chosen as the sacrifice. Nothing, however, unfolds as planned.

As a demonic laugh echoes through the forest, alliances fracture and buried lies come to the surface. The ritual turns violently against those who created it, unleashing a force that cannot be controlled. What was meant to bring harmony instead exposes betrayal and fear, as belief becomes the very thing that destroys them.

Blending atmospheric dread, pagan mythology, and psychological horror, Lily’s Ritual explores blind devotion, hidden motives, and the terrifying cost of belief. Its slow burn tension and striking visuals place it firmly alongside elevated folk horror such as The Witch, Midsommar, and Kill List, without losing its own distinct identity.

With next level practical effects and an unwavering commitment to mood and menace, Lily’s Ritual is set to become one of the must see highlights for horror fans in 2026. It is a dark and unsettling descent into ancient evil, where harmony is an illusion, friendship is a lie, and some doors should never be opened.

Directed by Manu Herrera, with a script by Javier Fernández Moratalla and Herrera, the film stars Maggie García, Patricia Peñalver, Elena Gallardo, Eve Ryan, Mike Fajardo, and Antea Rodríguez.

Coming 2026

PREVIEW: Witchboard (2026 Film) - Stars Madison Iselan

 

Vertigo Releasing has announced the digital release of Witchboard, a fresh reimagining of the 1986 cult classic that marked one of Chuck Russell’s early forays into horror. The film also represents a return to the genre that defined his career, following the cult successes of A Nightmare on Elm Street 3: Dream Warriors and The Blob. This new project completes a trio of fantasy horror films for Russell, a chance to push the boundaries of familiar fright worlds while staying true to the elements that made them endure.

The cast blends established talent with genre favourites. Madison Iselan leads as Emily, known for her roles in the Annabelle and Jumanji franchises. She is joined by Jamie Campbell Bower, whose Stranger Things and Twilight credentials suit the darker tone. Aaron Dominguez brings the sharp presence he showed in Only Murders in the Building, while Charlie Tahan adds the grit familiar from Ozark. Mel Jarnson, seen in Mortal Kombat, and Antonia Desplat, from Modi and Three Days on the Wing of Madness, complete the ensemble.

The story follows Emily after she uncovers an ancient spirit board. Soon after, those around her begin dying in sudden and disturbing ways. Her friends quickly realise they are facing a force far older than superstition, and the only way to stop it is to break the curse before it spreads further.

Russell produces alongside Kade Vu, Greg McKay and Bernie Gewissler, with a wide roster of executive producers including Eric Schiermeyer, Barry Brewer, John Paul Isham, Walter Josten, Patrick Josten, Marc Rousseau, Yannick Sadle, Robert Abramoff, Kevin Tenney, Jeff Geoffrey, Arianne Fraser, Delphine Perrier and JJ Caruth. Yaron Levy oversees cinematography, Camille Parent handles production design, and Véronique Marchessault creates the costumes. Editing is shared between Alex Márquez, Joe Plenys and Émile Vallée, with Sam Ewing composing the score.

Witchboard arrives digitally on Amazon, Apple TV, Sky Store and YouTube Movies on 2 February 2026.

Interview with K.K. Monroe By David Kempf

 

1. When did you first become interested in horror?

I was a guinea pig for my older sister’s love of horror. There was a considerable age gap between us, almost a decade, and I served as her unwitting, scaredy cat. In my early childhood, she impressed upon me a twisted version of The Lawnmower Man, a verdant, alien lifeform who was trawling our neighborhood. She convinced me he was creeping the large, circular vent above my bed at night, watching and waiting for me to fall asleep so he could turn me into BBQ. 

It would be safe to say: horror has always been interested in me. If you can’t beat them, join them, creepy matters have piqued my morbid curiosity as far back as I can remember.

I also have this vivid, formative image embedded in my mind: parallel train tracks running through distinct dimensions of reality, diverging and converging at whim. Whether the parallel tracks represent life and death, a sense of otherness; I genuinely don’t recall where the seeds came from. Yet it’s rooted in my psychological core and continues to evolve and flourish.

2. Did you always enjoy writing?

I’ve always enjoyed language, reading, and writing. When I was in second grade, I made a fourteen page book using construction paper and ribbons. I drew my own illustrations, wrote a dark fantasy about a door in the floor, a secret magical kingdom, color-changing unicorn (of course), a fierce princess, battling against an evil force overtaking the land. This was in the late 70’s, pre-Neverending Story when I took it in for show-and-tell. I was brave then and read it to the class. I couldn’t draw worth a damn, but that didn’t deter me. I love writing. 

Now, I need to write to keep my mind a bit quieter and calmer. 

Though it can be an exercise in madness. 

3. Do you have a favorite horror character?

There are so many, all vying for top position. It’s a bloody massacre in my imagination when I have to choose. A few favorites are: Pennywise from IT, The Overlook Hotel in the Shining, The Creepiest #1 Horror Fan Annie Wilkes from Misery, and Hannibal Lecter as written by Thomas Harris. I’m particularly frightened by characters who too closely resemble real life. Characters that could very well be based on actual people and events such as Annie Wilkes, Hannibal Lecter, and the feral pack of school boys in Lord of the Flies. 

Truth is not only stranger than fiction, it’s more horrifying.

Settings and places which breathe, hunger, and haunt get under my skin: Hill House and The Overlook Hotel are at the top of my list as favorites.

4. Is there another genre that you are interested in?

I’m genre fluid in both my reading and writing interests. Dark fantasy, fantasy, sci fi, psychological thrillers and mysteries all draw me in. I read many international classics growing up, including Russian authors such as Dostoyevski, Solzhenitsyn, and Tolstoy due to my family’s Balkan heritage. I crave literary variety and am a mood reader. 

5. Are there topics in horror that you will not write about?

My storytelling boundaries are still evolving as am I. Lurid depictions of CSA and active animal torture are a hard No for me. I may allude to highly sensitive topics in context, even exploring the grim emotional depths of a character’s subsequent trauma. I’m not one to go extreme. 

We live in a horrific world. My greatest terrors arise from the daily news.

6. How much has Lovecraft influenced your work?

Edgar Allen Poe, Oscar Wilde, Shirley Jackson, Ray Bradbury, George Orwell, influenced me quite a bit. I came to H.R. Lovecraft later in life, in my early twenties. His sheer brilliance with language, utter imagination, fantastically disturbing, existential treatment of humankind as mere specks of dust floating in vast nothingness, resonates with me. 

Lovecraft was a cosmic horror pioneer and literary genius. I revisit his works often and am easily consumed by the exquisite unease in his prose and imagery, leaving me pondering for eons. 

Cosmic horror inhabits my soul. It may come as no surprise to learn I double majored in Philosophy and Psychology with a concentration in English Lit in undergrad. That pretty much captures me.

7. Do you have more fun writing short stories or novels?

I have the most fun writing stories of any length that don’t throw up subversive resistance at every turn, for I am my own worst enemy. I adore the short story form. Give me a juicy morsel, even if it’s just a tidbit I can enjoy with my morning coffee, and I’m thrilled. Good short stories are a smorgasbord of horrific delights to be savored. Likely, the brevity, suits my attention span, which hopscotches all over the universe and sometimes even plays leap frog with a unicorn. 

8. Why do you think horror books and movies remain so popular?

Psychological and emotional catharsis, scary, creepy, unnerving, frightening, mounting dread, blood-chilling terror, an indescribable ancient horror, tap into such complex emotions and give us addictive hits of endorphins and dopamine. In my opinion, morbid fascination is as intrinsic to human nature as Freud’s Id. On some level, fictionalized horror is freeing. There’s no genuine, physical threat. Safe scares allow us to contemplate, maybe, things aren’t quite as awful in comparison to, say, a blood-thirsty slasher on the loose? Ultimately, I think we crave ecstatic relief, similar to surviving a harrowing rollercoaster ride. We’re happy to be alive. Then wish to do it all over again.

9. Why do you think that people are obsessed with being scared?

We’re subject to the hardwiring of our amygdala. Fear via remote viewing allows us to envision and mentally reenact a variety of disasters and crises, in order to prepare ourselves. We’re left feeling better equipped to survive horrific survival scenarios, should they ever arise. Something akin to the evolutionary imperative of survival of the fittest; being safely afraid provokes an atavistic high, hopefully, much less dangerous than base jumping.

10. Who inspires you?

In the horror world, Stephen King is the horror author of my childhood. He’s a legend, a true inspiration, humanized by freely-given, humble advice and encouragement. He has struggled with doubts and personal demons. He threw Carrie in the garbage bin. If Tabith, his wife, hadn’t rescued it from the trash, who knows? Choices define us. What I truly admire about SK, aside from his incredible world-building and prolific imagination, is he has never been withholding about his struggles as a human being and writer regardless of fame. 

In life? Compassionate, empathetic, giving human beings inspire me like no others. The people who love and care for helpless animals. The helpers who run headlong into disaster to save strangers with no regards for themselves. They’re the best of humanity. Good eggs inspire me.

11. What are some of your favorite horror books?

Pet Sematary is my favorite horror book. It outright scared me more than anything I’ve ever read. I was nine at the time, sequestered to a transcontinental flight, still, it holds up under scrutiny. 

Animal harm is a major trigger for me, and I’m oddly insistent that Jack London’s Call of the Wild qualifies as realism/survival horror. The savagery of Nature, survival-needs pitted against brutal elements, tipped my world over. I was also quite young, about eight, when I read it.

The Talisman co-authored by Peter Straub and Stephen King. Misery, IT and The Stand by Stephen King. The Other by Thomas Tryon. Rebecca by Daphne Du Maurier. The Haunting of Hill House by Shirley Jackson. Lord of the Flies by William Goulding, The Ruins by Scott Smith. The Twelve by Justin Cronin. 

This year, I’ve added Veil by Jonathan Janz and Steel Machines by Dan Franklin to that list. They’re both fantastic.

12. What are some of your favorite horror movies?

I subsist on horror movies. Jaws cracked cosmic (and creature) horror wide-open for me. As a result, I suffer from a dire case of thalassophobia, a fountain of terror which never runs dry. 

Alien, forged my obsession with sci fi horror. 

A few others include: Nightmare on Elm Street, Jeepers Creepers, The Orphanage, The Others, The Changeling (1980), The Descent, The Conjuring, The Ritual, Creep, Silence of the Lambs. The Thing (1982), Prometheus, and Signs.

The Ring made me sleep with all the closet doors open and every light on in the house. 

13. What are your current projects?

I have a short story “Dead Water” appearing in the Screams from the Bayou Anthology in 2026, and I’m really excited about that. Advanced copies will be available through Broken Brain Books at STC AuthorCon™ in Williamsburg, Virginia, February 27th-March 1st. 

I have several WIPs. I’m exploring my cultural heritage with some grim Serbian folklore. I’m working on a cosmic, eco horror novella and another psychological, metaphysical novella dealing with transformative grief. I have a tendency to set aside my shorts stories and let them percolate forever, before editing. I’m never satisfied. My work run the spectrum of experimental sci fi, dystopian, weird/bizarre, fantasy, to global cryptids. 

I plan to get out of my own way this year and publish more. Wish me luck.

14. Please in your own words write a paragraph about yourself & your work.

I’m humbled and honored to be invited to do an author interview. Thank you so much.

I’ll include my author bio here:

KK Monroe is a horror author, cognitive-linguistic specialist (by day), and an avid genre-fluid reader. She resides in Virginia with her husband and two pups. Firstborn American to immigrants raised under Tito’s communist regime in former Yugoslavia; KK’s unique bicultural upbringing has deep roots in oral storytelling traditions, dark Slavic Mythos, and cautionary folktales of a pagan-rich heritage. This cultural milieu colors and shapes the lens of this author’s writing style, interests, and voice. In her free time, she enjoys tackling her TBR, watching scary movies, cooking ethnic foods, and falling down obscure rabbit holes in the name of research. Her short fiction has been published in the Screams from The Dark Ages Anthology and in Cosmic Horror Monthly with forthcoming releases. Her debut collection of quiet, vintage, cosmic horror “Things from the Dark” can be found on Amazon. 

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Follow along in this author’s writing journey on Facebook at KK Monroe – Author.  

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Stay current on recent and forthcoming releases at https://linktr.ee/kkmonroehorrorsalad