Interview with Alan Jones - Festival programmer, The Trieste Science+Fiction Festival

The Trieste Science+Fiction Festival, now in its 25th year, is a multidisciplinary event devoted to the exploration of the realms of the 'fantastic' genre, and the use of new technologies and experimental languages in film, television and visual arts. It presents 'fantastic' productions from all over the world, focusing particularly on science fiction and fantasy films, cinematographic and audio-visual works.

Alan Jones, Festival Programmer, tells us why he took the job, what his biggest challenges are and what we can expect from the 25th edition.

This is the 25th year for The Trieste Science+Fiction Festival. What do you think gives it its enduring appeal?

Science Fiction has always been about looking forward -  to an exciting future, where anything and everything is possible. That's why the genre endures because it's about hope, wonder and awe and it offers a safe space to explore complex social and ethical questions. The Trieste S+F audience really embraces that in a way I rarely see at other festivals. The pockets of fans discussing what they've just seen and why it's important - or not - in the overall scheme of things.  Everything within the festival  encourages critical thinking and because Trieste covers a whole range of events revolving around  education, family, gaming. literature and movies, a unique perspective is engendered. I have made it my mission to talk to as many members of the audience as possible and I'm always surprised and delighted by their dedication to engage in cosmic conversations. 

This is your fourth year at the helm. What inspired you to take the job and what is your biggest challenge?

I have been attending the Trieste Science+Fiction Festival for over 20 years now. I was first invited to be on the Jury and then became a regular attendee/stalker. I loved the city so much it has become my second home. So, when I was offered the role of Artistic Director I jumped at the chance to spend more time in the country I adore and with the people I have come to respect who mount this incredible undertaking every year. And it really is a monumental operation turning our main venue, the Teatro Rossetti, into a state-of-the-art cinema. I learnt very quickly my biggest challenge was providing as many quality science fiction movies as possible. Before my time there had been a drift away from that core mission and I found that was the main bone of contention with the audience. It's called the Trieste Science+Fiction Festival so Sci-Fi should be the main ingredient. It isn't rocket science... oh actually it is!

What makes science fiction such a powerful lens for exploring contemporary social and political themes in cinema today?

Science Fiction has always been the conduit for commenting on the present, you only have to look at old episodes of 'Star Trek' to see that. Using future scenarios as a mirror to reflect on what's happening now provides a means to discussing complex problems  like AI for example. Hopefully encouraging the imagination  to fly into the far reaches of the universe helps shape the future rather than merely predicting it. I've always said the outside world is never far from view in every SF enterprise, it might take time to discover it, but it's there. 

What are some of the most exciting trends or innovations you’re seeing in science fiction filmmaking right now?

While dystopian fantasy is still at the forefront - unsurprisingly considering the political flux the world is in - I do see hard sci-fi focusing on the more realistic near future issues  -  the 'five days in the future' concept - like AI, biotech, religion and climate change. I like the fact that some creatives are going back to early source material for inspiration like our opening film THE SHRINKING MAN based on the Richard Matheson classic tale of man's insignificance. Sci-Fi horror and other genre-blending is on the rise too and diverse perspectives are becoming more prevalent. 

How does the festival engage with new technologies such as VR, AI, or interactive storytelling formats?

In endless discussions in our wonderful public forum, The Dome, in Piazza Borsa. This fantastic venue became a major  talking point with every Extra-Triestrian last year and I'm thrilled we have the  opportunity to build on its relevance in these key areas. You must remember that Trieste is the city of science anyway and every avenue is constantly explored. That is what the city council expects and what we provide.

What role does European sci-fi cinema play on the global stage compared to American or Asian productions?

It offers a valuable alternative to the dominance of Marvel fluff that's for sure. Each country has their own social and political problems, and they can focus on those issues in their own particular way through language and the genre lens. The cultural and literary influences are different too and that means more thought-provoking character-driven  stories that refuse to rely on expensive CGI spectacle alone. That's why the Melies prizes exist - to celebrate the differences and focus on the philosophical and ethical challenges that appeal to a more intellectual viewership.

What is the biggest challenge when curating a science fiction festival - audience expectations, logistics, or simply the vastness of the genre itself?

Put simply,  the hope there are enough science fiction movies in any one given year to go round and make the programme interesting, exciting and accessible. Plus ensuring the originality of each movie  will reach out and touch the audience in the way you want it to. 

How do you approach diversity in programming - not just in terms of geography, but also genre, tone, and storytelling style?

Hard to put into words the answer to this question. My  attitude and stance to the genre throughout my entire career has always veered towards diversity.  Because of a new book project I'm currently conceptualising, I've gone through all my set reports over the past five decades, from STAR WARS and ALIEN through THE MATRIX and HELLBOY and it's the one constant I've noticed in my journalism. Why would I change now especially when it's becoming the norm - finally!

What role do emerging filmmakers and debut features play in your programming strategy?

An enormously important one. I take pride in  providing a showcase for emerging talent and first-time filmmakers. They are the future, and if you can define that special something in their work, they will always remember you and be a festival guest for life. 

Do you see any current trends or shifts in the science fiction genre that excite, or worry, you?

Well, that's the beauty of the science fiction genre, the zeitgeist consistently changes.   Today's AI concern will be tomorrow's robot holocaust, global warming, Mars colonisation and medical immortality. I love the unexpected, the new, the challenging so bring it on. But mainly bring it to Trieste as I'm here for a few more years yet!

Finally, tell us what you’re personally highlights are for this year.

The entire TS+F Festival is a highlight because it isn't just about movies but being a part of the Trieste cultural fabric. I take my role very seriously in that respect because, while some may not be interested in the films we show, they might be regarding books, video games, or the discussion forums we organize. I am there for every demographic and never forget that. My favourite films this year are Jan Kounen's THE SHRINKING MAN, Jean Dujardin is terrific in this remake, Glenn McQuaid's quite brilliant THE RESTORATION AT GRAYSON MANOR and quite the best documentary I've seen in ages, Michael Almeryeda and Courtney Stephens' JOHN LILLY AND THE EARTH COINCIDENCE CONTROL OFFICE. 

COMPETITION: Win Daughters of Darkness 4K/Blu-Ray Limited Edition

From Radiance Films comes this cult masterpiece from visionary Belgian auteur Harry Kümel, whose bold cinematic flair transformed European genre filmmaking in the 1970s

And to celebrate we have a copy to give away!

Synopsis:

Kümel delivers an unforgettable gothic nightmare, set in an eerily deserted seaside hotel.

Newlyweds Stefan (John Karlen – The Hobbit: An Unexpected Journey) and Valerie’s (Danielle Ouimet – The Possession of Virginia) honeymoon is disrupted by the arrival of Countess Elizabeth Bathory – played with ethereal menace by Delphine Seyrig (The Day of the Jackal) – and her mysterious companion. As night falls and secrets surface, the couple are drawn into a hypnotic vortex of seduction and vampiric terror. 

Acclaimed for its stunning visuals and unapologetic eroticism, Daughters of Darkness is a landmark in horror cinema and remains one of the most seductive vampire films ever made.

Daughters of Darkness Limited Edition 4K/UHD Blu-ray and Limited Edition Blu-ray released 27 October

Pre-Order from https://amzn.to/3IRvBUg

Enter now for a chance to win.

Which actors play Stefan and Valerie in Daughters of Darkness?

Send your name, address and of course the answer to competition365@outlook.com

Quick Terms and conditions - For full T&C click here

1. Closing date 27-10-25

2. No alternative prize is available

3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.

4. Winners will be chosen randomly and will be informed via email.

5. Entries that come directly from other websites will not be accepted.

The Last Sacrifice: An Interview with Director Rupert Russell

Rupert Russell on location with THE LAST SACRIFICE

Ahead of the UK premiere of The Last Sacrifice at FrightFest Glasgow 2025, director Rupert Russell discusses his chilling true-crime documentary. The film explores the eerie cultural forces that shaped British folk horror while investigating a gruesome and unsolved murder that continues to fascinate and disturb.

Your film is premiering in the UK at FrightFest Glasgow this year. How do you feel about that?

It is an exciting moment, especially with Glasgow being so close to Summerisle, the fictional island from The Wicker Man.

What first drew you to this project?

I only watched The Wicker Man for the first time in 2022, and to me, it did not feel like a horror film. It felt like a documentary about Britain in recent years. The madness of Summerisle was no different from the madness of the British Isles. That final moment, where Sergeant Howie begs for his life, saying, "Killing me won’t save your apples," and Lord Summerisle simply replies, "I know it will," is something I have seen reflected in daily life. When I shared these thoughts with a friend, they stopped me and said, "You do know there was a real murder that inspired all of this?"

The film centres around the unsolved murder of Charles Walton in 1945. What is the background of the case?

Charles Walton was a 74-year-old farm labourer found murdered in a field in the Cotswolds on Valentine’s Day, 1945. A pitchfork had been driven into his face, and a billhook was embedded in his throat. The scene was so gruesome that the Warwickshire police contacted Scotland Yard, which sent one of Britain’s most famous detectives, Robert Fabian. When he arrived, he described the crime as a “slaughterhouse horror.” Despite Fabian’s investigation and continued efforts by the local police, no one was ever charged with the murder.

What fascinated you about this case?

It was never about finding out who committed the crime. It was about understanding why people believed certain theories about the killer. Mysteries act as mirrors, reflecting our fears, anxieties, and cultural beliefs. When a murder goes unsolved, people fill in the gaps with their own ideas. The theories that circulated about Walton’s murder revealed something about Britain at that time. Instead of the classic horror trope of the dangerous outsider, this case introduced the idea of the hidden threat within a seemingly ordinary community.

The rural setting and superstitions surrounding Walton’s death mirror themes in films like The Wicker Man. How did these parallels shape your storytelling?

The link between fact and fiction was the most exciting part of making this film. I started by watching documentaries about real witches from the 1960s. These films were often exaggerated and theatrical, yet when I spoke to modern-day witches who had been part of them, they confirmed that they were largely accurate representations of what was happening at the time. The real events were often stranger and more shocking than the folk horror films inspired by them.

The conspiracies surrounding Walton’s murder introduced tropes that became staples of folk horror. These were not just the creations of screenwriters but were based on the speculations of police officers and amateur detectives trying to make sense of a brutal and bizarre crime.

Writer Janet Farrar (“The Witch Queen of Ireland”) being interviewed for THE LAST SACRIFICE

The media played a major role in shaping the public’s perception of ritual sacrifice and the occult in post-war Britain. Do you think this influenced the murder investigation?

Not at first. The press only picked up on the occult angle years later, after Robert Fabian wrote about it in his memoirs. His police reports from 1945 suggest that the biggest obstacle to solving the crime was the secrecy of the local villagers. He believed that in a small community like that, the killer’s identity must have been widely known. The fact that no one came forward suggested to him that the villagers either knew who had done it or understood the reason behind it and did not want the truth to come out.

What do you think is the lasting impact of the Charles Walton case, both in real-life folklore and in horror cinema?

Folk horror films of the late 1960s and early 1970s were shaped by a mix of cultural changes. Writers and filmmakers connected the Walton murder to the rise of Wicca, the counterculture movement, women’s liberation, class conflict, and the broader shifts happening in Britain at the time. These ideas all swirled together around the figure of the witch, who became a symbol of both fear and rebellion.

How would you compare British folk horror films of the ‘60s and ‘70s to the American ones that followed?

British folk horror often revolves around a member of the professional class, a teacher, doctor, or policeman, who arrives in a rural village and becomes the target of a conspiracy. The villagers, often under the influence of an aristocratic leader, are portrayed as resisting modern progress in favour of older, more sinister traditions. These films reflect a fear that the post-war social changes brought in by the Labour government might be undone, returning Britain to a feudal past.

American folk horror, by contrast, tends to feature tourists who unknowingly walk into danger. Films like An American Werewolf in London or Midsommar are about outsiders encountering a cult, rather than a clash between social classes. The fear is less about political regression and more about the dangers of extreme ideology. Given that many early American settlers were religious extremists, this fear makes a lot of sense.

What is your favourite folk horror film?

I did not know much about the genre when I started making this film, but I loved discovering it. Some of my favourites are Penda’s Fen, The Plague of the Zombies, Twins of Evil, and Demons of the Mind.

Finally, what is next for you?

I have two fiction horror films in development, as well as another archive documentary.

THE LAST SACRIFICE SCREENING DATES

October 24:      Dublin: The IFI (as part of HORRORTHON)

October 28:      London: The Nickel + Q&A with Rupert Russell

October 30:      Manchester: Home + Q&A with Rupert Russell

October 30:      Edinburgh: The Cameo

October 30:      Epsom Cinema

October 30:      London: Finsbury Park Cinema

October 30:      Liverpool: FACT

October 30:      Liverpool: The Plaza Community Cinema

October 31:      Lewes: Depot cinema + Q&A with Rupert Russell

November 1:     London: Picturehouse Central + Q&A with Rupert Russell

November 1:     Lancaster: The Dukes

PREVIEW: THE LAST SUPPER (2025 Film) - Red Owl’s Haunting Horror Feast

Red Owl presents THE LAST SUPPER, a chilling new horror film directed by Pick Poison, Christer B. Runde, Aleksandr Boikov, Doyeon Noh, Felipe Vargas, Craig D. Foster, and Marc Martínez Jordan. From the team behind international hits The 100 Candles Game and Asylum: Twisted Horror and Fantasy Tales, the movie delivers a fresh approach to horror, blending elegance with brutality and multiple viewpoints to create a distinctive cinematic experience.

The film spans the full range of horror, moving from psychological tension to intense body horror, with moments of dark humour woven throughout. Food serves as a central motif, transforming each story into an exploration of the grotesque, the forbidden, and the delightfully macabre.

THE LAST SUPPER follows a mysterious man enjoying an exquisite meal in an empty house, joined by an unseen guest. From this strange dinner, a succession of terrifying stories unfolds, probing deep human fears of hunger, flesh, and survival. The narrative moves through suspenseful, shocking, and sometimes unsettling moments, maintaining a constant sense of dread.

The cast features Santiago Ríos, Nicolas Melian, Tyler Sanders, and Taylor Jorgensen, each delivering performances that heighten the eerie, food-infused atmosphere of the film.

With its striking visuals, inventive storytelling, and uncompromising horror, THE LAST SUPPER promises a cinematic experience that will captivate and unsettle audiences who crave a bold, sophisticated take on terror.

Interview with Can Evrenol

Ahead of the UK premiere of THE TURKISH COFFEE TABLE at FrightFest Halloween, director Can Evrenol reflects on the challenges of screen adaptation, tackling dark subject matter and the anticipation of the biggest home release of his career.

What drew you to remake The Coffee Table into The Turkish Coffee Table?

Most of my short & feature films are about family, the social claustrophobia of the family, mostly there’s a baby, usually there’s death in the family and mostly there’s a key scene around the dinner table! It was a match made in heaven for me. (Or hell, for that matter!)

How did you balance preserving the tone or key themes of the original with infusing your own creative voice?

I just treated it as a cultural translation where I had full creative licence. The story felt like it was bound to go even deeper and crazier once set up in Turkey, because of the madness of modern Turkey.

What was your approach to casting, especially around the lead roles and any roles that might evoke comparisons to the original?

I wanted to do this with a Turkish comedy star. Just like Adam Sandler doing Uncut Gems. But I didn’t think any of the comedy stars in Turkey would be interested in such a dark experiment of the human soul - until I met Alper Kul! He was amazing. So was Algı Eke who plays the wife.

Were there moral or censorship constraints that shaped your creative decisions?

None. I went as dark or as funny as the original did - if not more. I think I did push the envelope a bit more, with full respect and in awe of the original.

Given your past films like Baskin and Saýara, what thematic throughlines or obsessions do you see connecting them to The Turkish Coffee Table?

Family. Dark fate. Social claustrophobia. Sudden mood changes. 

Alper Kul in The Turkish Coffee Table

How do you anticipate different audience reactions, between those who know the original and those seeing your adaptation fresh?

I hope those who’ve seen the original will be happily surprised by the acting, the cinematography, and the ending of our film. Also, the music. But mostly the sterile weirdness of the whole thing. It’s a bold remake, in tone.

What was the most difficult scene to shoot, and how did you overcome those difficulties?

The very first scene when our lead character is confronted with the death of his baby. That was the day when we all thought, ok this will be the bomb! The actor was positively very worried to get it right. He had never done such a dark scene in his storied career. 

What can you tell us about the films planned release?

This will be the biggest home release of my career. It’s exciting. It will be on theatres across the country. People will be shocked! - and double shocked to find themselves laughing at this.

Finally, what’s next?

I am currently on the post-production of my first non-genre feature film which I shot over the summer in my own neighbourhood with an extremely tight crew and non-professional (but amazing) actors. It’s a strictly +18, erotic, punk, and emotional love letter to French New Wave; titled “Beril_XXX”.

THE TURKISH COFFEE TABLE is showing at The ODEON Luxe West End on Sat 1 November at 6.40pm and 7.10pm, as part of FrightFest Halloween 2025.  Can will be attending.

COMPETITION: Win Malpertuis (Limited Edition) on Blu-ray

From Radiance Films comes this cult masterpiece in a definitive edition that celebrate the allure of Harry Kümel’s work. 

And to celebrate we have a copy to give away!

Synopsis:

Malpertuis (1971) Plunges audiences into the surreal with a haunting tale of ancient gods, crumbling mansions and cursed bloodlines.

Adapted from the novel by Jean Ray and featuring legendary filmmaker Orson Welles (Citizen Kane) in a towering late-career performance, the film centres on a young man trapped in a labyrinthine house where family secrets blur into mythic horror. Jean-Jacques Griffon (Mathieu Carriere – India Song), a disillusioned young man, returns to his ancestral home after his father’s death, only to find the sprawling mansion has become a cryptic maze filled with strange inhabitants. His dying father has trapped several relatives and mysterious figures inside Malpertuis, an ancient, decaying mansion rumoured to be a prison for old gods

disguised as humans. As Jean-Jacques navigates a world where myth bleeds into reality, he unravels disturbing secrets about his family’s cursed legacy and the supernatural forces at play. 

Pre-Order from https://amzn.to/4mMYUoD

Enter now for a chance to win.

What is the name of the character played by Mathieu Carriere in Malpertuis?

Send your name, address and of course the answer to competition365@outlook.com

Quick Terms and conditions - For full T&C click here

1. Closing date 20-10-25

2. No alternative prize is available

3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.

4. Winners will be chosen randomly and will be informed via email.

5. Entries that come directly from other websites will not be accepted.

REVIEW: The Long Walk (2025 film) - Starring Cooper Hoffman

By Jon Donnis

Francis Lawrence’s 2025 take on Stephen King’s novel arrives with a premise as harsh as it is simple. Fifty boys are forced to walk until only one is left standing, watched by soldiers and a hungry crowd. That single idea drives the entire film, giving it a mood that is bleak and unrelenting.

The acting is where it shines. Cooper Hoffman carries the story as Ray Garraty, bringing a mix of grit, exhaustion and quiet decency that feels completely real. When the focus narrows to small exchanges between the walkers, those moments land because Hoffman gives them a weary sincerity. The rest of the cast are fine, and the rare flashes of camaraderie among the boys provide the only real warmth.

Beyond that the positives thin out quickly. Once you grasp the rules of the Walk there is little left to uncover. The film stretches the concept to nearly two hours, and the pattern becomes predictable. A death, a burst of grief, a bit of talk, then more marching. The cycle repeats until the sense of tension gives way to a dull rhythm.

The lack of surprise is another drag. Key events unfold exactly as expected, draining the big moments of impact. The bleak tone, effective at first, slides into monotony. Even strong performances cannot disguise how thin the material feels. Scenes often play like filler rather than character study, and the story cries out for a tighter format that could deliver the same punch in half the time.

There is a grim honesty to the film that may appeal to anyone who prefers their dystopia stripped of polish. But it misses chances to explore its own premise or build a deeper emotional arc. What might have worked as a sharp forty-minute piece feels stretched and weary as a feature.

The Long Walk boasts a superb lead turn and commits fully to its grim vision, but it drags far too long and offers little that surprises. I left impressed by Hoffman and frustrated by how little else it achieved. My score is 4 out of 10.

In cinemas now.

On Digital Soon

https://apple.co/4nLCOE2