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Eye-busting retro design, bizarre concepts, nostalgic stop-motion dinosaurs!

What Danger 5 seems to be — in case you haven’t heard of it and haven’t guessed from the trailer — is an online action comedy series parodying ’60s TV/film adventure frolics and … anything else that comes up.

Synopsis:

Set in a bizarre, 1960s inspired version of World War II, action comedy series DANGER 5 follows a team of five spies on a mission to kill Hitler. Danger 5 is the finest group of special operatives the allies have to offer; Jackson from the USA, Tucker from Australia, Ilsa from Russia, Claire from Britain and Pierre from Europe. Each episode Danger 5 unravels another of Hitler’s diabolic schemes and travels across a myriad of exotic locations spanning the globe. The action and offbeat humour never relents as Danger 5 mounts a series of thrilling missions which include discovering Josef Mengele’s perverted Antarctic death circus, busting down Erwin Rommel’s golden murder casino and posing as exotic dancers in an attempt to take out Hitler at his own birthday party.

Danger 5: The Diamond Girls is coming to YouTube on 21st November 2011 (at 10 pm Australian EST), in gloriously gaudy colour on the Dinosaur Worldwide Channel, courtesy of SBS Australia. Attack the superb interactive website! Plunge into the dangerous waters of the Danger5tv Facebook page! Invade the now-abandoned lair of the creators and their previous horrors — especially The Italian Spiderman — in fearsome Dariotown!

Danger 5 is Dario Russo and David Ashby, and directed by Dario Russo. It stars David Ashby, Aldo Mignone, Sean-James Murphy, Natasa Ristic, and Amanda Simons.

Thanks for the heads-up, Avery!

Described by its publicity as “one of Hollywood’s most terrifying new films”, Tape 407 is said to feature lost footage “too real for reality and too disturbing for fiction”. Apparently it also has “a twist ending that will leave you breathless, shocked, and terrified” — something that has become obligatory for “camera verité” horror movies, as witness The Blair Witch Project and the recent Paranormal Activity films.

Unlike the majority of previous “found footage” films, Tape 407 eschews ghosts, zombies and the closed-in environments they inhabit for the more expansive world of dinosaurs, though from the trailer the film uses darkness to generate a feeling of claustrophobia. It is clearly a hybrid incorporating influences from Lost and Jurassic Park into the frenzied visual landscape of “camera verité” terror.

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Synopsis:

In Tape 407, innocent passengers with family and friends waiting for them at home board a state-of-the-art jetliner piloted by an experienced crew, having no reason to doubt that the pilot will navigate through storm and turbulence to get them home safely. They are wrong. The small group that survives the devastating crash, including the critically wounded, believe that help is on the way. Again, they are wrong. The very people they trust to rescue them are the very same people who created the hell in which they find themselves — trapped in darkness by predators that, unbeknownst to them, are part of the government’s top-secret Mesa Experiment.  (Adapted from the press release)

The Backbrain asked producer Suzanne DeLaurentiis about the film and how it came about. “I’ve been an independent producer for 30 years,” she began.

A while back I was in pre-production for a musical comedy that was shooting called How Sweet It Is. While working on the music score, my co-producers Ivan Kavalsky, Stephen Fiske, and Jude Tucker and myself toyed with the idea of shooting a found-footage movie during our week of summer vacation. I told my partners that I didn’t want to do a typical scary house or graveyard scenario, that I wanted something different. So, I asked myself what is one of my worst fears, and the answer was: Going down in a plane crash. My co-producer Stephen Fiske replied, “But then what happens?” And I said, “Think of something new and different.” And he replied jokingly, “I don’t know … what about dinosaurs?” And, I said “Great, let’s do it!” So we did.

The movie was shot in five days and the majority of it was improvised by the actors. I can’t tell you what a challenge it was hauling the remnants of a 747plane crash from the California desert up to our shooting location at a ranch in California. When my co-producers asked “How are we possibly going to do that?” I said “Figure it out, that’s what I want.”

I am very happy with what we ended up with and have nothing but praise for my talented cast and crew.

If all this gets your juices flowing — and it should — we’ve got some excellent news for you right after the next few pictures below.

The good news — at least for those of you living in the US — is that Tape 407 will have a sneak-peek screening on October 19 at 10am at the Universal City Walk AMC in Universal City. There will also be a press conference and poster signing by the director and cast at Dark Delicacies located at 3512 West Magnolia Boulevard, Burbank, CA 91505-2818 on October 21 at 7pm.  For tickets or information on either event you should contact the promoters at delaurentiisllc@gmail.com.

The film will then have a limited theatrical release this coming Halloween (31 October), when it will open at the following theatres. Hopefully, others will follow:

• 89′er: 304 N. Main St ,Kingfisher, OH 73750 — info
• The Royale: 108 W. Main St ,Mesa, AR — info
• Downtown Independent: 251 S. Main St ,Los Angeles, CA 90012 — info
• Muvico: Pompano Beach Florida — info

Tape 407 is executive produced by Rick Finkelstein, Steven Chase, and Bagiryan Armen, with producers Suzanne DeLaurentiis and Ivan Kavalsky, co-producers Stephen Fiske and Jude Tucker. The film is written by Robert Shepyer, Dale Fabrigar, and Everette Wallin, and directed by Dale Fabrigar and Everette Wallin. The cast includes Abigail Schrader, Samantha Lester, James Lyons, Melanie Lyons, Brendan Patrick Conner, Ken Garcia, Samantha Sloyan, and Jude Gerard Prest.

Some of the movie’s proceeds will go to veteran’s charities.

• Sources: Suzanne DeLaurentiis via Avery Guerra; ItGirl Public Relations press release; the official Facebook page; IMDb. Written by Robert Hood.

Filmed in the “camera verité” style made famous (in more recent times anyway) by The Blair Witch Project (1998), Paranormal Activity (2007), Cloverfield (2008), The Zombie Dairies (2006) and The Troll Hunter (2010) — to name but a few — The Dinosaur Project follows the fortunes of a film crew traveling deep in the Congo, who discover that assorted 65-million-year-old dinosaur species are alive, thriving and generally predatory, as is their wont.

Below is a dead one, caught at ground-level by a dropped camera.

The film stars  Natasha Loring (pictured below), Peter Brooke (Spooks, Doctor Who, The Wild West) and Matt Kane (The Cut). It is produced by Moonlighting Films and will be distributed through StudioCanal, with digital SFX by BAFTA award-winning effects house Jellyfish Pictures, who got some dino practice in via the TV movie The Last Dragon (2004) and T-Rex: A Dinosaur in Hollywood (2005).

Going on the dinosaurs featured in some of the production shots the Backbrain acquired, all dino lovers out there are in for a treat.

The film is currently in post-production for release in 2012.

Source: via Avery Guerra; StudioCanal; IMDb. Written by Robert Hood.

Back in 2009 we reported on Undead Brainspasm that Don Murphy, producer of Transformers, Natural Born Killers and From Hell, was led to James Robert Smith’s novel The Flock in reaction to Smith’s criticisms of the film version of From Hell on comic artist Eddie Campbell’s blog, ready to slam it as junk — and found he loved the novel so much he bought the film rights. The novel is a skewed take on a Jurassic Park-type scenario, in which “a group of highly intelligent giant prehistoric birds discovered in the Florida Everglades … are intent on protecting their ancient home when faced with encroachment by theme park developers” (Hollywood Reporter). The giant birds are called Phorusrhacids in paleontological circles. Here’s one, horsing around with an early member of the family Equidae:

(Image source)

Of The Flock the enamoured Murphy said:

“Take one part Seventies disaster film, one part modern day environmental crisis and mix them well with some good old-fashioned state of the art action and you have THE FLOCK, an exciting, all too real adventure that you need to read immediately. I can’t wait for the sequel!” (Source)

You can check it out on Amazon.

Believing that the novel would make a terrific high-concept “summer tentpole” movie, Murphy and Smith have been working to drag The Flock out of the huge swampland of optioned works on which Hollywood floats and turn it into an actual in-production project [hmmm, I think this metaphor is rather at odds with the one I began with. Oh well.].

Well, now James Robert Smith has revealed to Undead Backbrain that the film has a scriptwriter, who has been working away at it for a while. He said:

The screenplay is finished and all that are involved with this project are very happy with it. (Nope, I haven’t seen it myself yet.) It’s by Travis Milloy, who wrote the recent SF-horror film Pandorum.

Currently there is also a short list of directors being considered to helm The Flock, and although I’m not at liberty to release their names, I’m very impressed with the line-up. They’re all very well-known directors. So we’re closing in! I’ll be sure to keep you updated as I’m able and as the project progresses.

So The Flock may be still in development, but it’s progressed quite a few steps further along the bird run. If it keeps going on along this path, and proves a success, we’re all set for the sequel; Smith’s follow-up to the first novel, titled The Clan, is due out in 2012.

Meanwhile, here’s some portraits of the titular monsters, drawn by Mark Masztal. Masztal worked at Tundra Publishing “back in the day”. Now he freelances.

Smith says he has also already pitched the third and final book in his “cryptozoological cycle”, The Tribe — the first of which was of course The Flock and the second, presumably, The Clan. Smith’s latest novel, The Living End, is, however, an apocalyptic zombie story that just came out from Severed Press. Given the still-current popularity of the genre maybe this one will be optioned, too.

Source: James Robert Smith via Cinecryptozoologist Extraordinaire Avery Guerra. Written by Robert Hood.

Man of the clawth. Sometimes the prayers become the prey.

Actually it’s a faux trailer for a film that doesn’t exist called, evocatively, The VelociPastor, directed by Brendan Steere. The question the director is asking is: do you want to see a proper feature-length version? Now’s your chance. You can decide!

Synopsis:

A priest loses his parents, and in his hour of darkness begins to question his faith. Of course, during this dark period he is also scratched by an ancient piece of ember, allowing him to transform into a dinosaur and give in to his baser urges. Soon he discovers that indulging in these murderous desires might not be all evil. Sometimes, to make things right, people have to die. Sometimes a lot of people. Enter the man of the clawth. How long has it been since your last confession?

Production comments from the director:

We actually f**ked the film up manually. I mean, there are some digital scratches in there, but 85% of that degradation is the real thing. We shot the film (16mm Kodak’s Vision3 500T stock), and before exposure, I took it into my bathroom, which is the only room in my apartment with no windows, so it was basically a darkroom. Once inside, I proceeded to take the film and scratch it over everything in the room, trying to make it literally look like it had been dragged through a parking lot. For extra measure, we then sealed the film back up and baked it in an oven at 200 degrees for ten minutes, which gave it an extra washed-out and faded look. All of this can be achieved in After Effects of course, but honestly, where’s the fun in that?

Another neat thing: the suit had actually been hanging around in my garage for three years, left over from an old feature film I directed in my high school days. The school bought the suit (paid for it in full — and it was a couple of thousand dollars), but then rejected the script for the film we were gonna shoot on the grounds that it was ‘too violent’. F**k that, whatever. The point is, they let me keep the suit. I’m honestly not sure they remembered they bought it. So technically that amazing dinosaur costume was commissioned with American tax dollars, and honestly, I can’t think of anything more badass than a ‘dinosaur costume’ tax.

On Cast and Crew:

As for the crew, it was a smattering of my friends here at film school, all of whom are amazing and have their own shit. All of them can be found linked from Vimeo.

The cast consisted mainly of friends and family, with the notable exception being Matt Ziegel — the VelociPastor himself — who is a wonderful actor I’ve got some projects coming up with soon. Matt operates out of Manhattan, as I do.

On Brendan Steere:

I’ve been writing/directing/editing films for nearly half my life. At nineteen, I’ve directed three feature films and countless shorts about any damn subject imaginable, though horror films are definitely my preferred genre. I’m currently attending SVA in Downtown Manhattan for Directing. I’m churning little things out all the time while working on larger projects like the VelociPastor feature (which is currently being written –  we’ll see when we get to that one. Maybe as early as this summer). I update videos, blog, etc. here and people can follow me on Twitter.

On the future of The VelociPaster:

I’ve sent this trailer out to some film fests, hoping one will pick it up. If there’s a positive enough reaction, the feature will get underway.

So, if you want Brendan to make a film out of this exercise in cinematic tongue-in-cheekiness, leave a comment either at the end of this article or on YouTube. He assures us it will make a difference.

• Brendan Steere via Avery; Poster illustrated by Wyeth Yates

Gallery:

Ice Road Terror (US-2011; dir. Terry Ingram)

Soon for the SyFy Channel is this tale of two truckers and their giant prehistoric stalker, newly awakened with a bad attitude. It stars Brea Grant (Heroes, Friday Night Lights, Halloween II), Ty Olsson (Battlestar Galactica, Dragon Tales, Shattered), Dylan Neal (Blood Ties, Dawson’s Creek) and Malcolm Stewart (Kyle XY, Battlestar Galactica).

Synopsis:

The treacherous Alaskan ice road becomes the setting for a deadly pursuit in this suspenseful thriller. Two truckers are preparing to traverse a dangerous path across frozen rivers to deliver equipment to a remote diamond mine. Unbeknownst to them, blasting at the mine has awakened a long-dormant prehistoric creature. Upon arrival at the mine they encounter unbelievable carnage, leaving them stranded in the wilderness with a hungry beast on their trail. Can they escape the terror of the ice road? (ContentFilm)

Below is concept art by David Ahn that gives you some idea of the monster (click on it to enlarge):

And here’s some sample storyboard art:

And you can listen to four different ssmples from the film’s score, composed by Stu Goldberg:

1. Main Title
2. Mayhem
3. Lohman’sFall
4. End credits

Sources: ContentFilm; Twitchfilm; via Avery Guerra. Written by Robert Hood

Mark Deniz (of Morrigan Press) and Beyond Fiction, following on from their hugely successful Ghost Awareness Month, have instituted Monster Awareness Month — and it’s been going for a few days now. Focusing on monsters from film and literature, with authors and bloggers contributing various posts, including film reviews, interviews, articles, book reviews, etc., Monster Awareness Month will see new articles, on-line films and reviews posted every day of February.

You can read about the mechanics of it all here, set yourself up to download the films (or view them online), and scan daily news and articles here. There’s also a Facebook page where you can keep abreast of the stomping and rampaging.

So far, I admit that the Backbrain (otherwise known as Robert Hood) has been overly prominent on the site, having contributed:

• An Introduction, Where Monsters Dwell (basically an account of my life with monsters)
• Frankenstein: Man and Monster (an article on how Mary Shelley’s monstrous creation has entered our cultural zeitgeist and has been translated to film)
• The First Giant Monsters Part 1: The Real Giant Monsters (an article about dinosaurs as monsters)
• The First Giant Monsters Part 2: Out of Time, Out of Place (how dinosaur and man can interact, according to the cinema)

The First Giant Monsters Part 3: Giant Monster vs Giant Monster (how the tradition of monsters fighting each other originated) will follow tomorrow.

But you can also read a great article on Dr Jekyll and Mr Hyde (1933) by literary agent and editor: Sharon Ring, more on the making of the 1931 Frankenstein from publisher, writer and reviewer, Aaron Polson, and from artist and editor Mikko Sovijärvi a nostalgic reminiscence about Spawn of the Slithis (don’t know what the hell that is? Go find out!)

For monster fans (and we’re NOT just talking giant monsters here) this is a not-to-be-missed event. See you there.

The Backbrain has been obsessing about it for some time, though we’re not likely to see it for a while yet. It premiered at the Brussels International Fantastic Film Festival on 9 April and was due to open theatrically in Belgium, France and the French-speaking region of Switzerland on 14 April, but there has been no word on a release in the English-speaking world yet (that I’ve heard of anyway).

Meanwhile, though there have been a plethora of posters for the film released, the poster below is said to be the final, official one — emphasising, as it does, many of the film’s central attractions — Egypt, pterodactyl, assorted eccentric characters and in particular Louise Bourgoin:

Personally, I would have added the mummy that inhabits the film’s narrative (see the first clip below).

Clips:

Adèle Blanc-Sec – Extrait “la momie”
Uploaded by europacorp. – Watch feature films and entire TV shows.

Adèle Blanc-Sec – Extrait “Caponi”
Uploaded by europacorp. – Classic TV and last night’s shows, online.

Adèle Blanc-Sec – Extrait “Dédicace”
Uploaded by europacorp. – Watch feature films and entire TV shows.

And finally, the Pterodactyl:

And here is a Behind-the-Scenes video:

• Source: via Twitchfilm
• Writing: Robert Hood  |  Research: Avery Guerra

See also the following Undead Backbrain articles:

• Mummies, Pteradactyls and Luc Besson (on the original comic)
• Pictures of Adèle Blanc-Sec
• Adèle Blanc-Sec: A Teaser (first poster and teaser #1)
• More Teasing by Adèle Blanc-Sec (another poster and teaser #2)
• French Femme vs Pteradactyl and Mummies (yet another poster and the official trailer)

Sherlock Holmes (US-2010; dir. Rachel Goldenberg)

[Note: This review involves some spoilers.]

In the Asylum’s latest monster mash (preceding the upcoming Mega Piranha), Sherlock Holmes pits his deductive skills against a slew of monsters, mostly large ones. There is, of course, an evil genius behind them. If that statement alone doesn’t pique your interest, don’t bother reading on.

First, some background observations. Filmmakers and writers alike seem rather fond of taking classic naturalistic (more-or-less) franchises and cross-pollinating them with fantasy tropes. Recent examples have been particularly outré — and commercially successful, even if artistically they often leave a bit to be desired. Look at the not-altogether surprising way the Jane Austen/Seth Grahame-Smith collaboration Pride and Prejudice and Zombies was embraced by readers — a hybrid novel that was a huge bestseller and is now supposedly being turned into a film.

Sir Arthur Conan Doyle’s Sherlock Holmes stories — hugely popular at the time of their publication and well beyond — have been a target of this sort of artistic hybridization for some time. A while ago I read the anthology The Improbable Adventures of Sherlock Holmes, edited by John Joseph Adams (Night Shade Books), which features stories written by major authors in which the iconic consulting detective must deal with cases that are rather more fantastical than had been recorded previously by Holmes’ official biographer, good friend Dr Watson: Holmes vs aliens, ghosts, demons, even dinosaurs. Most of them are excellent reads; some are stunningly good. But how valid is it?

While the original stories sometimes presented bizarre and apparently supernatural scenarios, Holmes’ rationalist approach inevitably resulted in uncovering the less-fantastic realities that lay behind them. Good examples are the oft-filmed “The Hound of the Baskervilles” with its supposedly supernatural curse, and “The Adventure of the Sussex Vampire” (which was filmed in Hammeresque fashion as “The Last Vampire” in the superlative Jeremy Brett TV series of the 1990s). Many would argue that being rational lies at the heart of Holmes’ very identity.

Paradoxically, the hybridization process works pretty well in the case of Holmes. The apparent blasphemy that lies behind the posthumous addition of the fantastic to the rationalist Holmes mythos is somewhat justified by three factors. Firstly, there’s Holmes creator Sir Arthur Conan Doyle’s espousal of spiritualism, along with his rather naive propensity to take up dubious causes, such as that of the notorious “Cottingley Fairies”. Secondly, Conan Doyle’s other major “franchise” writing, the Professor Challenger stories (The Lost World, The Poison Belt, The Land of Mist, “The Disintegration Machine” and “When the World Screamed”) had a strong fantastical quality, being science fiction or supernatural in theme — so that if such elements had sneaked into Doyle’s own Holmes stories it wouldn’t have been all that surprising. Thirdly, the fact that Holmes is called upon specifically to look into cases that appear to defy logic and are exceedingly baffling lays the groundwork for the stories to offer actual rather than apparent supra-natural solutions. After all, one of Holmes’ most famous sayings is “when you have eliminated the impossible, whatever remains, however improbable, must be the truth”. This cries out for a fantastical re-interpretation.

Holmes, of course, has had a long, and remarkably strong, history of appearances on TV and on film. Recently, two movies with the title “Sherlock Holmes” have been released  — one a mega-blockbuster directed by Guy Ritchie and starring Robert Downey, Jr. as a hyperactive Holmes, and the other the aforementioned low-budget effort from The Asylum. Both, in their own ways, stretch the parameters of the Holmes mythos, and, though not equal in profile, both do a decent job of staying true to the Holmes universe — more or less.

While the Guy Ritchie film can be seen as the most unorthodox, it is only stylistically that it deviates in any serious way from the norm of the original stories. Other apparent “changes” to Holmes can pretty well all be justified in terms of facts derived from Doyle’s work (yes, Holmes was a boxer and had studied an Asian martial art). Sure, Robert Downey Jr’s Holmes  doesn’t act or dress much like Basil Rathbone’s version, being inordinately hyperactive and scruffy in appearance, but in fact Rathbone’s always immaculately dressed detective introduced a few of the now-accepted iconic Holmes elements without much textual justification (such as the deer-stalker hat and magnifying glass). His Holmes isn’t any more “authoritative” than Downey Jr’s, though it helped establish the post-Doyle norm.

In the Asylum film, on the other hand, Holmes himself and the way he acts is closer to this norm, as portrayed by Ben Syder, and it’s the fantastic elements that can be seen as controversial. Sherlock Holmes (US-2010; dir. Rachel Goldenberg) has Holmes and Watson (Gareth David-Lloyd) pitted against a giant octopus, a bipedal, T-Rex type dinosaur (somewhat smaller than the real thing — though recent paleontological discoveries have coincidentally revealed such a beast to have existed), a fire-breathing dragon and a sort of Victorian-period Iron Man (Dominic Keating). [This latter fact is ironic, as it allows the film to be seen as playing off both of Robert Downey Jr's two recent blockbuster franchises at the same time!] Given that it eventually offers a non-supernatural, pseudo-scientific explanation for its “anomalies”, The Asylum’s Sherlock Holmes is almost traditional in approach — though the addition of a slightly divergent family history and a sibling who isn’t Mycroft may worry purists.

To get maximum enjoyment from the film, it’s probably best not to think about it too much — the logistics behind some of the depicted events really don’t make a lot of sense. Sure, there’s a plot that hangs together more-or-less and a script by Paul Bales that works well, scene-by-scene — but if you dig back into the whys and wherefores there’s plenty to make you mutter ironically to yourself “Right! As if.” every now and then. Never mind. If you’re into the sort of monstrous genre silliness that features in the Asylum’s previous, rather successful foray into giant monsterdom, Mega Shark vs Giant Octopus (US-2009; dir. Ace Hannah), then  Sherlock Holmes‘ absurd undercurrents aren’t going to worry you much at all.

More significantly, what you’ll get when you watch this Holmes at work is a strong dose of good, entertaining B-flick fantasy adventure. If it’s the fact that the fantasy is dressed up in a cloak of science fictional “real-world” logic (in steam-punk mode) that makes you question the more unlikely aspects, it’s easy enough to ignore the fact and just enjoy the spectacle. I mean, a giant octopus in classic ship-assault overdrive, a T-Rex loose in Victorian London’s backstreets (doing a prehistoric re-interpretation of Jack the Ripper), and a dragon busy fire-bombing the city in anticipation of the Blitz are all things calculated to warm the hearts of exploitation-film geeks everywhere.

What’s more, director Rachel Goldenberg has effectively made the jump from the production to the direction side of things, delivering a relatively tight, well-directed film that knows what we want to see and gives it to us consistently, or at least as consistently as the budget allows. The film is not static, and apart from one fairly pointless and over-emphasised scene where Watson is put in danger by climbing a precarious cliff-face it is well paced. The CGI monsters are scattered throughout the proceedings with due regard to audience patience levels — and they’re not bad at all in mid-budget terms. The mechanical dragon in particular is a beauty, even if the fight with it could have been spiced up significantly given an injection of funds.

Of course, the film isn’t perfect. Ben Syder is competent enough, but his depiction of Holmes lacks presence, especially in contrast to Gareth David-Lloyd, who creates a much stronger Watson than Syder’s slightly diminutive Holmes. David-Lloyd’s experience in the BBC series Torchwood certainly shows, and much of the professional conviction that this Asylum production displays comes down to his presence in it. While not a mega-star David-Lloyd can project his personality onto the screen and is well-enough thought of at present to give the film an air of being well above average in the cinematic pecking order, marketing-wise. It’s a lesson that The Asylum and other small production companies making low-budget genre movies should note — there’s value in spending a bit of money to get at least one actor on aboard who has contemporary credibility. Here, Dominic Keating (of Star Trek: Enterprise fame) gives similar value as the human villain.

Filmed on location in Wales, with a competent UK supporting cast and ready-made sets, Goldenberg’s Sherlock Holmes may not reach to the pinnacle of the Conan Doyle filmic canon, but it should be welcomed as a curious offshoot by Holmes aficionados and by the rest of its genre audience as a quirky and enjoyable evening’s entertainment.

If you need to be brought up to speed about the film and its genesis, read about it on Undead Backbrain here.

First off, here’s the latest poster (click on it to enlarge):

Trailer (if you’ve got the bandwidth watch the HD version):

The premiere will be at the 28th Brussels International Fantastic Film Festival (BIFFF) on April 9th. The theatrical release date in France is on April 14th.

Source: via Twitchfilm and Avery