The Corpse of Anna Fritz (Spain, dir. Hèctor Hernández Vicens)
"I mean… [laughs]," Neece just chuckles at this necrophilia-laden premise. "First time feature filmmaker from Barcelona. He’s a writer and showrunner for Spanish TV. It’s just really well made. For a first time feature, he has really cool grasp on tone. It starts really strong and it kind of just really goes bonkers, crazy shit happens. Three guys do bad things to this corpse. It’s just one location, bad shit happens. It’s awesome. You don't want this showing any other time but midnight."
Deathgasm (New Zealand, dir. Jason Lei Howden)
"We’re so thrilled. You want to have a little fun in the midnight section. You want gore and bad shit to happen, but you also.. just like Turbo Kid. Theyr’e both really fun films that are going to play well to a Midnight audience. Especially at a Drafthouse, where people can drink and have a good time. It’s kind of like Evil Dead with metal. Jason is a digital artist over at Weta. Obviously he has some filmmaking chops. He wrote it and directed it. It’s super funny, it’s got really cool gore FX, lots of good heavy metal. It’s a badass film."
The Diabolical (USA, dir. Alistair Legrand)
"It’s just really solid. It’s creepy, great FX, great kid actors in this one. It’s a fun ride. You’ve got to put yourself in the midnight viewer’s shoes. They’ve had a long day, waiting in line or drinking. You want it to be fun and keep them awake. The Diabolical is overall really strong, great atmosphere."
Excess Flesh (USA, dir. Patrick Kennelly)
"This guy, I guess he’s a visual artist and you definitely can tell by the style. It’s a very unique style. There are some scenes where everyone was like, 'holy shit.' There’s a scene with Macaroni & Cheese that’s just fucking crazy. It’s a dark thriller about body image issues, same kind of Starry Eyes and what will people do when they’re obsessed with images. The lead performances are really great. It’s pretty much a two-hander with these two roommates. One is skinny and can eat whatever she wants, the other girl has weight issues and she just fucking cracks. Really intense."
Hangman (UK, dir. Adam Mason)
"Adam Mason's made a lot of crazy, awful films. I mean, good films, but just awful. He did Broken, Devil’s Chair, Pig. I’ve always wanted to play his films. I saw Pig at Sitges at 4am one night like, 'Holy shit. This guy’s fucked up.' I kept an eye on him. Pig didn’t work out for whatever reason. I talked to him about it. He’s like, 'That film is on a hard drive in my garage. No one should ever watch that movie.' We don’t play favorites, but Hangman is one of our favorites. He has a real meanness to his filmmaking. I couldn’t stop watching it."
He Never Died (USA/Canada, dir. Jason Krawcyzk)
"Henry Rollins is so good, man! He is so strong in that film. It’s definitely the best lead performance I’ve ever seen him do. It’s like a dark comedy that’s super entertaining. Canadian director, it’s all about Henry Rollins. It’s super fun, it has a really cool twist at the end."
The Invitation (USA, dir. Karyn Kusama)
"Karyn Kusama started with Girlfight. Did Aeon Flux, sci-fi crazy. Jennifer’s Body was more horror and this is a solid thriller. It’s cool to see her dabble in all these different genres. This film is so good. It’s obviously great to have a woman back in Midnighters. It’s kind of a slow burn, but the buildup of tension and dread… Once you get into it, the tension it builds is so fucking good. The ending is amazing. It’s a cool, different take on the whole brainwashing cult narrative."
Pod (USA, Dir. Mickey Keating)
"We loved Ritual and this is just probably the rawest. It’s creepy, really cool practical FX. I was trying to figure out how to talk about this one. It’s just one of those films everybody liked. The words raw and creepy stand out for me on this one."
The Sundancers - The Nightmare (USA, dir. Rodney Ascher) & Turbo Kid (New Zealand, dir. RKSS Collective)
"When it comes to [programming films from] Sundance, it’s just the films that people like the most, that I like the most. I love The Nightmare. That was my eleventh choice. I usually play ten films, but I had to find a way to fit this film in. We wanted to play Room 237 so bad, but we weren’t able to. And then Turbo Kid. I’ve been wanting to play Turbo Kid since they submitted it a long time ago. It’s cool. It’s really amazing, 80s synth score to it. Again, fun. It’s pretty no-brainer."
We Are Still Here (USA, dir. Ted Geoghegan)
"It’s super creepy. The storytelling is really, really good in it. Clever, gruesome. It takes a really cool turn. Barbara Crampton and Larry Fessenden!"