Movies
‘V/H/S/99’ – Shudder Presses Play on Fifth Entry in the Bloody Disgusting-Produced Anthology Franchise from Studio71!
After breaking Shudder’s streaming records last October, we’ve recorded even more tapes with V/H/S/99, the fifth installment of the Bloody Disgusting-produced horror anthology franchise from Studio71.
In V/H/S/99, a thirsty teenager’s home video leads to a series of horrifying revelations.
You can press “Play” on V/H/S/99, a Shudder Original, this coming October 20, 2022, in North America, the United Kingdom, Ireland, Australia and New Zealand.
Producers include Josh Goldbloom for Cinepocalypse, Brad Miska for Bloody Disgusting, David Bruckner (V/H/S, The Night House, Hellraiser), filmmaking collective Radio Silence (Chad Villella, Matt Bettinelli-Olpin, & Tyler Gillett; Ready or Not, Scream), and James Harris.
V/H/S/99 is Executive Produced by Michael Schreiber & Adam Boorstin for Studio71.
As for the filmmakers, for the first time ever there are no familiar faces returning to the franchise…
Bloody Disgusting are collectively huge fans of Johannes Roberts. While he burst onto the scene with Storage 24, he announced himself with the smash summer hit 47 Meters Down before bringing the masked killers back to life in The Strangers: Prey at Night. He most recently directed the feature game adaptation Resident Evil: Welcome to Raccoon City. You’ll pledge yourself to Roberts after you see his segment.
Most horror fans don’t know their names yet but they will when Shudder releases their outrageous horror-comedy Deadstream this fall. Vanessa & Joseph Winter come straight from their SXSW hit to the V/H/S family and deliver one of the most insane segments ever recorded.
Maggie Levin is a filmmaker with rock n’ roll roots. We became fans after catching her directorial debut My Valentine for Hulu and Blumhouse’s “Into the Dark” horror anthology series. She also served as second unit director for Scott Derrickson’s smash-hit The Black Phone. Maggie’s segment delivers all the punk rock chaos you’d expect from V/H/S.
Tragedy Girls is a huge fan favorite here on Bloody Disgusting and we’ve been dying to get director Tyler MacIntyre to join the V/H/S family. What he caught on tape will have you questioning the saying, “just let kids be kids.”
Last but not least is musician-turned-director Flying Lotus, who helmed the trippy festival nightmare Kuso and is in prep on the sci-fi horror film Ash. He brings all the weird you wished for in V/H/S/99. Be careful what you wish for.
V/H/S/99 harkens back to the final punk rock analog days of VHS while taking one giant leap forward into the hellish new millennium.
“Fans of our franchise are going to love V/H/S/99,” said executive producer Michael Schreiber. “Each new film in the series is the chance to showcase a different ensemble of talented and diverse filmmakers, and I’m extremely proud of the work that V/H/S/99’s filmmakers have put in to bring their terrifying visions to life.”
“V/H/S/94 set a new bar for what is already a fantastic film franchise, featuring some of the best horror anthology segments in recent memory by an incredible lineup of filmmakers,” said Craig Engler, GM of Shudder. “We knew immediately that we wanted to continue the series, and what the producers have come up with in V/H/S/99 will be the biggest and best film yet in the series, and we can’t wait for Shudder members to see it.”
“The last year of the ’90s was a perfect playground for us,” said producer Josh Goldbloom. “DVD’s surpassed VHS, Blair Witch took the world by storm, and Y2K fears created a sense of apocalyptic dread. Add to that 6 of the most creative genre filmmakers in the world, and we’re confident this is the biggest, baddest, and most wildly savage V/H/S yet!”
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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