Added HQ screen captures of Joseph Quinn in “The Fantastic Four: First Steps” (2024).
Check out the official trailer of “WARFARE“, starring Joseph Quinn.
Check out the official trailer of “HOARD“, in cinemas May 17th 2024.
After just landing the role of the Human Torch in Marvel’s reboot of the Fantastic Four, Stranger Things star Joseph Quinn has lined up another exciting new movie.
Per Deadline, he’s in talks to join a new A24 movie helmed by Men and Ex Machina director Alex Garland. The film is currently untitled but we know it’s a war picture, which is co-directed by The Terminal List producer Ray Mendoza and is also set to star May December’s Charles Melton.
Very little else is known at this stage about the movie, aside from the names attached. This isn’t unexpected with a Garland movie though, as lots of mystery often surrounds his work, before it hits the big screen.
It’s thought though that work on this will begin soon and will shoot later this year, releasing prior to Fantastic Four. That MCU reboot is due to start filming this year too and will be released in 2025.
Mendoza and Garland worked together previously on the upcoming Civil War, which is set to be released on April 12. That movie stars Kirsten Dunst, Wagner Moura, Nick Offerman, and Jesse Plemons, and follows a group of journalists trying to stop an escalating Second American Civil War.
Quinn is certainly staying busy in 2024, with a number of releases also coming out this year. Among them is the A Quiet Place prequel, which he stars in alongside Lupita Nyong’o. Then he’s also got Hoard (which you can read about in our exclusive interview here) and Gladiator 2 coming later in the year.
“Less Than Zero” writer Bret Easton Ellis is set to make his directorial debut with “Relapse,” an elevated horror film he wrote starring “Stranger Things” breakout Joseph Quinn.
Paris-based SND has boarded the project as producer, alongside Adrian Guerra’s Nostromo (“Penny Dreadful”) and Simon Wallon’s Kiss & Kill (“Bonnie”). SND will handle worldwide sales on “Relapse,” as well as French distribution, and will tease the title at the EFM with a sizzle reel.
Quinn, who will next be seen in “Fantastic Four,” “A Quiet Place: Day One” and the “Gladiator” sequel, stars in ”Relapse” as Matt Cullen, who checks into rehab after witnessing a horrific death during a debauched party. Three months later, he is set to get his life back together, staying at his parent’s mansion in the hills of Los Angeles. But things have changed around Matt and everything seems off balance.
“Fueled by his unstable personality and the invading power of social media, Matt’s paranoia grows, messing up with his rehabilitation program. As he starts using again, a mysterious presence starts growing around Matt, and a monster that has been haunting him since he was a teenager reveals itself. His therapist tries to help, convinced that the monster is actually in Matt’s head,” reads the synopsis.
Marvel Studios has its “Fantastic Four.”
The superhero quartet — the first characters created for Marvel Comics by Stan Lee and Jack Kirby — will be played by Pedro Pascal as Reed Richards (aka Mr. Fantastic), Vanessa Kirby as Sue Storm (aka the Invisible Woman), Joseph Quinn as Johnny Storm (aka the Human Torch) and Ebon Moss-Bachrach as Ben Grimm (aka the Thing).
As part of the casting announcement, Disney has swapped the release dates of “The Fantastic Four” (now set for July 25, 2025) and “Thunderbolts” (now set for May 2, 2025). Those are two of four Marvel tentpoles currently set to open in 2025, along with “Captain America: Brave New World” in February and “Blade” in November. Four Marvel films are also scheduled for 2026, including “Avengers: The Kang Dynasty.” That’s a ramp up from 2024: Marvel only has “Deadpool & Wolverine” for theaters, on July 26.
Per usual with Marvel, story details remain scant. But in the comics, the Fantastic Four are astronauts who are remade into superheroes after they’re exposed to cosmic rays in space. Reed gains the ability to stretch his body to astonishing lengths. Sue, Reed’s girlfriend (and eventual wife), can manipulate light to become invisible and cast powerful forcefields. Johnny, Sue’s brother, can turn his body into fire which gives him the ability to fly. And Ben, Reed’s best friend, is totally transformed into, well, a Thing, with giant, orange boulders for a body, giving him super strength — and a perpetual heavy heart about his seemingly monstrous appearance.
Matt Shakman (“WandaVision,” “Monarch: Legacy of Monsters”) will direct “Fantastic Four,” from a screenplay by Josh Friedman, Jeff Kaplan and Ian Springer. News of Pascal’s casting first leaked in November, but Marvel had otherwise tried to keep a tight lid on who would play Marvel’s First Family, considered widely to be among the most significant superhero characters ever created. Filming is expected to begin by the summer.
Discover why our world went quiet. Watch the new trailer for “A Quiet Place: Day One” – only in theatres June 28. Also, we added the first official photo of Joseph Quinn in the film.
The release date for the upcoming Quiet Place prequel, A Quiet Place: Day One, has been pushed back from March 8 to June 28, 2024. The shuffle is due to the actors’ and writers’ strikes, which halted production. Other affected films include the Ryan Reynolds comedy IF and an untitled SpongeBob SquarePants movie.
In August, Paramount Global CEO Bob Bakish told Variety that filming on A Quiet Place: Day One concluded in London before the SAG-AFTRA strike began. While he expressed optimism about the studio’s current movie lineup, Bakish admitted that the strike does present some marketing challenges. However, he was confident that something could be worked out in terms of release strategy.
Written and directed by Michael Sarnoski, A Quiet Place: Day One serves as a prequel to the story created by John Krasinski. The story follows new characters as they try to survive the first invasion by the sound-sensitive monsters in New York City. The movie stars Lupita Nyong’o, Joseph Quinn, Alex Wolff, Djimon Hounsou, and Denis O’Hare.
Even though Krasinski won’t be directing the Quiet Place prequel, he is attached as a producer. The Quiet Place movies have been a popular addition to the sci-fi horror genre since the first film was released in 2018. The story is set in a post-apocalyptic world where Earth has been invaded by mysterious creatures that are blind but have hypersensitive hearing.
These creatures hunt and kill anything that makes noise, which has forced the remaining humans to live in near-total silence. A Quiet Place follows the Abbott family, who communicate through sign language and take extreme precautions to avoid making any noise. The family’s struggle for survival intensifies when they discover that Evelyn (Emily Blunt) is pregnant.
The stars of the most London movie of the year on genius directors, smelly sets and prawn toast
‘Were you in the Olivier, darling?’ ‘Yet to play the Olivier, darling.’
Hayley Squires and Joseph Quinn have gone all mock-thespy to compare notes on their experiences at the National Theatre. The ‘Hoard’ co-stars, it turns out, have both played the Dorfman Theatre, but not yet The Big One (‘Okay, we’re on an equal footing,’ laughs Squires). He trod the National’s boards in 2017’s ‘Mosquitoes’; she’s there right now, starring in ‘Death of England: Closing Time’.
In ‘Hoard’ – a coming-of-age fantasia with the jolting energy of popping candy and a heart the size of Greenwich Park – the pair are separated by two timelines. Squires is in the first act, set in 1985, as Cynthia, a whirligig of a mum to young Maria (Lily-Beau Leach), who fills their house with piles of ‘treasures’ and expresses her love through bits and bobs fished from bins. Fast forward ten years to the mid-1990s of ‘Blue Peter’ and Baby D and Quinn enters as Michael, a mysterious twentysomething former foster kid who sparks a feral bond with the now-older, fostered Maria (Saura Lightfoot Leon).
Squires made her big-screen breakthrough in Ken Loach’s 2016’s Palme d’Or winner ‘I, Daniel Blake’; Quinn, of course, has gone stratospheric as the shaggy, loveable metalhead Eddie Munson in ‘Stranger Things’. Next up he’s playing Emperor Caracalla in Ridley Scott’s ‘Gladiator’ sequel. Because of the ongoing Hollywood strikes, the Upside Down and ancient Rome are both off-limits topics for Quinn, but there’s a tonne of juice to get on one of the most singular films of the year.
Not just the London-est film at this year’s BFI London Film Festival, ‘Hoard’ is also the south-Londonest. Both actors hail from south of the Thames, as does Lewisham-born director Luna Carmoon. Only 26, she’s a meteor – and her actors love her. ‘It’s so exciting because “Hoard” comes from a place of humanity,’ says Squires. Adds Quinn: ‘It takes bravery to take big swings in this business and Luna has come out with this momentous swing. You can’t fake that.’
What does it mean to have ‘Hoard’ at the London Film Festival?
Joseph Quinn It’s extraordinary. It was the most ownership I’ve had over a project in my life. There are people in the crew that I went to school with.
Hayley Squires When I found out about the LFF I spoke to Luna and she was like: ‘Hometown!’ Where Luna grew up isn’t far from where I grew up, and she has the south London essence through and through.
How much do you want people to connect with the issues tackled in Hoard? Mental illness, grief, unaddressed trauma…
JQ People will take away from it what they will. You can watch films that tell you how to feel, but Luna leaves it pretty wide open. If it’s affecting in whatever way, we will have done our job.
HS Luna reminds me of the first time I listened to Amy Winehouse, because she has an ability to tap into those things that you haven’t confessed out loud. Some people might find elements of it disturbing, but everything is based on real emotions and experiences. If you look at it from a mental health perspective and the madness this film descends into, it’s relatable: grief felt like that for me, but I couldn’t say it [did]. But Luna’s able to.
JQ It’s not a film about foster care, it’s not about mental health, it’s not about grief – it’s a film about these characters who encounter these things.
HS It’s not agenda-driven and that’s how you know it’s good!
‘Hoard’ feels like it’s part of a lineage of new London films, all directed by women: ‘Rocks’, ‘Scrapper’, ‘Rye Lane’. Does it feel like an exciting time for female filmmakers? Is there real change?
HS I hope so, but I don’t think the job’s ever done. Maybe I shouldn’t say this but I don’t think anyone will watch ‘Hoard’ and say: “Oh, and she’s a woman?” The quality of the work speaks for itself. If someone’s good at what they’re doing, give them the money and let them make the film.
JQ It takes bravery to make big swings in this business and Luna has come out with this momentous swing, which is so exciting.
Luna has talked about how she sprayed the set with a scent made from sperm, milk, sweat and blood that she sprayed around on set without telling you. What was that like from your perspective?
HS (To Quinn) Did you know about this?
JQ I did. It’s not every day a director is squirting sperm on you during filming (laughs).
HS You would hope!
JQ And nor was she doing that, but she was spraying the scent around. Smell is the hardest to convey through the screen and to try to lean into that avenue of filmmaking was fucking bold.
What did it smell like?
JQ It smelt like all of those things (laughs). Michael and Maria smell this familiar pheromone on each other that’s traumatic, and it’s like two animals meeting each other. You’re watching these two broken people trying to fix each other. In my experience no one’s going to fix your problems – it’s impossible – and you watch his despair that she can’t save him.
The film’s about hoarding. Are you collectors of career keepsakes?
JQ I don’t want to keep too much stuff but it’s nice to keep little bits and bobs. Luna gave me a lovely memento of this film: a little gold ball. I keep the odd script, too.
HS I don’t tend to keep scripts, but only because I’m very tidy. It was stressful being on that set! It was kind of my worst nightmare. I’ve got the smaller clapperboard from ‘I, Daniel Blake’ and a pair of the big heels I wore in ‘Adult Material’.
The National Theatre has played a part of both your careers. Is it a rite of passage for a London actor?
JQ You’re definitely aware of the heritage of that building. What’s lovely is that you’ve got three companies on at the same time. There’s a courtyard at the back of the National where everyone’s dressing rooms are and there’s this tradition on opening night that everyone bangs on the windows.
HS It sounds like thunder.
JQ Experiencing that for the first time was a pinch-me, shivers, beyond-my-wildest-dreams kind of situation. It’s magical.
HS The National was always a dream for me, I didn’t know I was ever going to do it. It feels like they finally let me in the building. And now I’m not leaving (laughs).
Which actors did you look up to when you were starting out?
HS I worship Gary Oldman. And although I never get to do comedy – it’s always me crying over something – I watched a lot of it growing up and it was people like Kathy Burke and Victoria Wood for me. It was where they came from and what they were talking about, as well as their acting.
JQ For me, Gary Oldman as well. I loved him in ‘The Fifth Element’. Phil Hoffman made every single film he was in better. In ‘Boogie Nights’ he got every bit of juice out of every single moment. Benicio Del Toro is another big one for me, and Joaquin Phoenix.
You’ve both been on foodie podcasts. Where do you go in London for comfort food?
JQ I’ve got a few spots. Mountain is fucking brilliant. It’s quite decadent to say that it would be my comforting place, it’s a bit of a treat.
HS (To Quinn) You’ve changed!
JQ Yeah: ‘The sea bream there is very comforting’ (laughs). No, that’s a treat spot for me. The prawn and raw cheese on toast will blow your mind.
HS Norma, an Italian place on Charlotte Street. I have the pasta alla norma, their signature dish.
So is Italian your death row meal?
HS If it’s not my best mate Bill’s roast dinner, it’d be Italian. Oh god, I’m so English!
JQ No, you’re not! Italian’s the right answer. Death row’s got to be Italian.
Do you have a favourite London cinema?
JQ I went to watch the Scorsese film ‘After Hours’ at the Prince Charles recently and it blew my mind. We’re very lucky to have an independent cinema right next to Leicester Square that can put on old films like that.
HS When I lived in Streatham I used to go to The Ritzy in Brixton on Sunday mornings. I loved that place. Or the Prince Charles. And I’m not going to lie, I do like an Odeon or a Vue.
JQ The Peckhamplex as well.
Is there a film that says London more than any other to you?
JQ ‘Love Actually’.
HS We’re not supposed to say it, but it’s true.
JQ In that kind of dream, not-real-London space…
HS Like, if you lived in a Richard Curtis film, Joe, eh?
JQ Maybe I’ve got a vested interest. But there’s such a range of Londons in films, from Richard Curtis to ‘Nil By Mouth”.
Where do you stand on the whole north/south divide?
JQ Wherever you come from is the best bit, it’s so subjective. It’s such an enormous, sprawling city, you’ve got to compartmentalise it. [Although] I will never live north of the river and that’s just the way it is.
HS I’m the same. It’s south. But like Joe says, everyone says their bit is the best. But I moved out – I needed to buy a place and I couldn’t do it here – but I always lived in south. My main thing, without getting political about it, is that whatever area you’ve from, the bones of it need to be maintained before everyone gets priced out of it. And it depends what football team you support. I couldn’t live in north London because there’s too many Tottenham and Arsenal fans. I’m Chelsea.
Do you have a team, Joe?
JQ Not really. My mum’s a scouser, so I like it when Liverpool win.
Is there a dance floor or gig you’d go back to tonight?
HS If I could be back in my twenties with my mates on the dance floor, it would be downstairs at Freedom on a Wednesday night. It’s not particularly sophisticated but we were all students and had the best time. Or Two Brewers in Clapham.
JQ Two Brewers in Clapham!
HS What about you? I bet it’s something really cool.
JQ It’s not really. I went to see a lot of gigs in the Brixton Academy growing up – I remember seeing Foals there in my indie-boy phase. Bunker in Deptford is a grotty little sweaty institution. All my mates went to uni in that part of London – I did live north of the river briefly in Hammersmith when I went to drama school, but all of my mates went to Goldsmiths and I’d go out where they went out. I’d love to have another night there.
What’s it like travelling around London now? Can you still use the Tube?
JQ Yeah, of course. No one gives a fuck. It’s impossible to talk about this without sounding like a twat but it fluctuates. If you’re in people’s consciousness at that time, they’ll recognise you, and then people move on. It’s ever-changing. What about you?
HS Yeah, easy. Unless people think I’m Lily Allen, I’m alright.
Exclusive: GamesRadar+ speaks to director Luna Carmoon, and stars Saura Lightfoot Leon, and Joseph Quinn about their Venice Film Festival hit Hoard.
Hoard, best described by director Luna Carmoon (Nosebleed, Shagbands) as a “body horror of the mind,” is a gut-wrenching exploration of grief, love, and the things we physically and emotionally can’t seem to get rid of.
Taking place over two timelines, Young Maria (Lily-Beau Leach) lives with her mum Cynthia (Hayley Squires) in a home that seems like a hoarder’s den to some – but to them, it’s a fantastical world of magic that serves as a ‘catalog’ of their love. Older Maria (Saura Lightfoot Leon) spends her teenage years with her foster mom Michelle, but has never quite let go of of her childhood – or what her mother taught her. When an older boy named Michael (Joseph Quinn) comes around, everything changes – and Maria suddenly finds herself confronting the trauma of her past.
GamesRadar+ spoke to Luna Carmoon, Saura Lightfoot Leon, and Joseph Quinn about the making of Hoard, and all the guts, grief, (and sausage rolls), that went into the process.
GamesRadar+: What drew you to the script?
Joseph Quinn: I remember the first time I read it. It’s such a strange script, it’s so disturbing and powerful and reaching for something really extraordinary. The script was obviously a very compelling part of it, but the most compelling part of it for me was to work with Luna. After I met her, I was like, there’s an aura about her that is undeniable and she’s the most cinematically literate person I’ve ever met.
And I think to reach for something like this as someone that loves the art form so much, she’s constantly going towards the mythic aspects of cinema and finding the more interesting way to tell the story in the script. So I was seduced by that, and by her.
Saura Lightfoot Leon: There was so much room for interpretation in the script, so I was really curious to see how she pulled it off, and I wanted to be a part of that journey. It was the moment I read [the script] when I got the audition – I was so confused and I was feeling so many things. The language that is used in Hoard is not my comfort zone, it’s not my usual dialect. And all I wanted to do was understand it and live within it. When I don’t understand and I feel a lot, something takes over.
I just got two scenes, and they were so out of context and I was like, ‘What is happening?’ But I immediately started improvising. I was like, ‘Well, I need to figure it out for myself.’ When you get a seed that is so beautiful and mysterious and it’s got this element of magic that you want, you’ve got to explore it. It was just like unraveling a parcel. It was a journey that was really beautiful and very personal for me.
Speaking of the dialect and language in the film, I feel like certain quotes and phrases are still rattling around in my head. Is that the effect you wanted it to have on viewers?
Luna Carmoon: It’s quite funny because not only is it a certain dialect – very south-east London – but there’s almost a fantasy-like element to the absurd scenes. I likened it to how people talk in movies, “The cat is in the bag, the bag is in the river.” It’s like a whole weird syntax that [the characters Maria and her mother Cynthia] have built together that are like strange sort of cockney rhyming slang or just strange sayings that no one in my generation or even older probably knows. My grandparents raised me, I still live with my granddad, I still use them. I think it’s very rare to meet someone my age who not only sort of sounds a bit like this now, but also uses those phrases. It’s like someone’s put an 80-year-old woman in my body.
You recently said that “spite is the great transformer,” and that you originally thought you were going to keep the film to yourself. Can you expand on that?
LC: I just think a lot of us don’t want to admit that venom and spite can really give us motivation, because sometimes we equate that to not being ‘pure’ or ‘healthy’ or ‘loving’. And that’s not what I mean by it. I do think that it has been a great transformer for me and I wish I knew other ways. I think one day I will know other ways and how to create things. But, you know, spite and rejection can often power you to be what you think are better versions of yourself, which aren’t really, but it definitely is fuel for me sometimes to get going.
And it’s not the entire journey of a project. It’s birthed out of spite and venom, and then it transforms into something really healing and blooms into something really lovely. And that’s what the gift of Hoard was to me.
That same Deadline article also described the film as a “body horror of the mind.”
LC: Yeah, that’s how I pitched it. I pitched it like that in an actual cheeky way because people fund horror much easier in this country [compared] to other things. So I pitched it as a body horror of the brain, but what’s more horrifying than entering a psychosis and having a nervous breakdown? When you are in the real depths of rock bottom, you can imagine it being easier chopping your finger off than losing your marbles. And I have experienced it myself and with many others. It’s easier to break a bone than to experience your brain having an actual meltdown. I mean [it’s a body horror] as much as The Piano Teacher is a body horror.
There are parts of the film that felt very Cronenberg to me, especially the iron and the literal licking of wounds. Can you talk about what other filmmakers have kind of had an influence on you or on this project specifically?
LC: I love Cronenberg. I love human Cronenberg – Dead Ringers and Crash are my favorite Cronenberg. Like, the horrifying nature of humans: it’s beautiful and ugly, but we all exist like that. Some of us show it to certain people and some of us go our whole lives without showing that sort of ugly to one another. In terms of influences, I love British Cinema of the sixties and seventies, early Ken Russell and all of his documentarian work – and Women in Love is one of my favorite films. It’s beautiful. Michael [Quinn’s character] is definitely of the essence of men that Ken Russell works with like Oliver Reed, Alan Bates, etc.
I love early [Paul] Verhoeven, like Specters and Turks Fruit. Visually, even in Michael’s wardrobe, it’s very much when [he is] wearing the red vest – it’s just like in Turks Fruit, and even the relationship between [Michael and Maria] is very much like that.
Here in the UK, we have the British Film Institute and these two lovely guys, one of them, William Fowler, they basically produced this line of films called BFI Flip Side where they restore films from the sixties and seventies. One of [the films] is I Start Counting, which is just amazing. And in terms of score, the scoring of that film by Basel Curchin was massively influential on how I wanted [Hoard] to sound. I didn’t particularly want the film to sound nineties or eighties, but quite seventies. And Jim Williams managed to sort of take all of their influences and create a soundscape for these guys to be loopy and giddy.
Speaking of the loopiness and giddiness, you two have this amazing chemistry. If you tell me that you never met before this, or that you’re not old friends, I’m going to be in shock.
JQ: We met before we started filming this – we spent a little bit of time together, getting to know each other. Thank you for saying we had good chemistry. It felt, really exciting and fun to work with Saura, especially because when you are working with someone incredibly talented and dedicated, it’s just a gift because it’s not always like that. And the space that Luna created for us to experiment and to just push it as far as we could and feel like that was allowed between both of us and supported by Luna. It’s a real treat and you can’t force it. It’s a product of the environment that you’re in.
SLL: And we were in an environment where we had an exceptionally talented director and I had an exceptionally talented co-star. So if you set up that environment, hopefully something will come out of it. I loved working with Joe and I loved meeting Joe and we went on some Michael and Maria adventures. They were really fun for me because I got to meet Joe, but then it became sometimes a little something else. It became Michael and Maria. That was like pure delight. And then working with Joe was actually really fascinating because I think this chemistry you see is feral. It’s animal.
It’s fascinating because you see these different creatures and then it’s like electricity happening. It’s amazing that you can see it, but I felt it. It’s like a push-pull thing. It’s constantly changing – it’s good friction. It was just pure pleasure working with you. And it’s fun, you know? When it’s fun and it comes from that place of light and growth, everything just feels easy.
You mentioned the word animal – I wrote down ‘primal’ a lot in my notes. There’s something so guttural and heartbreaking about both of your performances. How did you get into those headspaces?
SLL: I love using music a lot. I used a lot of music just because I wanted to use something that didn’t feel necessarily heavy. I listened to a lot of unusual different music and I would kind of tailor it. I would surprise myself. Sometimes I would just shuffle on certain playlists that I had made and it would just fill me with something and then I would spend time alone and then go into it.
Music is very emotional. It’s an emotional trigger. I wanted to focus on something that was a little nonsensical that just gave feeling and sense and then [I could] just focus on Joe and letting whatever we were doing happen.
JQ: Kind of similar, really. Just staying open to the ideas in the moment really. And I guess practically I had to put on a bit of [weight] as Luna wanted him to be a bit bigger. So I did that. Plenty of sausage rolls, lots of sausage rolls, [laughs]. And then mainly just staying open to what was happening there, because you can’t really plan anything, especially the parameters of this project anyway, I think you just had to be there.
Do you feel a little bit of pressure given that this is your first project to be released after going viral for your performance in Stranger Things?
JQ: I filmed this before season four came out, which I’m really grateful for. This is a film that is completely independent of that. Obviously that happened and it was mad and I’m grateful for it, but it was very odd. But this film was completely separate to that and it’s lovely to be part of something that collectively I feel like we have a lot of ownership over. Whilst it’s great being part of those big franchises that lots of people have high expectations around, it’s also lovely to tell stories that feel closer to my heart in a way and with people that I care about enormously and try and get that out into the world. It’s a very different thing and equally as important.
There are all these quiet little moments of shock throughout the film, and I love how they’re inserted – especially in contrast to like the very loud love parts of the film. Can you kind of speak to the juxtaposition of that?
LC: Yeah, I think that’s just life, isn’t it? Things come at you and sometimes the big things that are happening to you internally, some of the biggest news is just mundane and feels like nothing. You’ll come home from a hectic day of work and someone will tell you someone’s died or so and such, and you go and you feel that pain and then you stick the kettle on. And I think that’s just very much is life and my experience.
What do you want people to take away from this film?
LC: That’s for them [laughs]. But no, love, grief, or experience is the same. If we could measure feelings, would that be a blissful world or a horrifying world? But the fact that everyone is gonna feel something, something different, and experience something different from it is what makes cinema so special – and that’s not for me. I made this film for me, I made this film for 14-year-old me to discover on Putlocker [laughs].
The fact that other people are seeing it, it’s just a weird prospect to me because it was just gonna stay in a drawer in my hoarded bedroom. So that’s for everyone else, to make whatever they want of it and I don’t care. Hopefully something.
Hoard made its world premiere on September 2 as part of the Venice International Film Festival’s Critics Week. A release date has not yet been announced, though the film has been acquired by distributor Alpha Violet. For more, check out our list of the most exciting upcoming movies in 2023 and beyond.
