NYX UK is set to deliver a thrilling month of horror this March, with a slate of premieres and special events that celebrate both genre legends and rising talents. Kicking things off on Saturday, 8 March at 9pm, the channel honours International Women’s Day with the premiere of Devanny Pinn’s "The Black Mass". This intense film delves into the 1978 sorority house attacks by serial killer Ted Bundy, offering a raw and unflinching portrayal of real-life horror from the victims' perspective. Following this, Luna Wolf’s short film "Siren" airs at 10.45pm, exploring identity and trauma through an atmospheric psychological horror lens.
The Black Mass
On Saturday, 15 March, NYX UK pays tribute to body horror pioneer David Cronenberg on his 82nd birthday with screenings of his early classics "Shivers" (9pm) and "Rabid" (11pm). Both films helped shape Cronenberg’s unique style, blending science and terror in ways that still resonate today. Earlier in the month, on Tuesday, 4 March at 9pm, the channel marks the 102nd anniversary of "Nosferatu", the iconic 1922 silent horror that laid the groundwork for vampire cinema and inspired Robert Eggers’ recent remake.
Rabid
Fans of cult horror are in for a treat with the UK TV debut of "The Chainsaw Sally Show" on Friday, 7 March at 11.30pm. This grindhouse-style series follows Sally, a small-town librarian by day and chainsaw-wielding vigilante by night. Meanwhile, Thursday nights at 7pm continue the run of "Galvaston’s Cavern of Creeps", featuring channel premieres of "Night of the Demon" and "The Cars That Ate Paris". On Tuesdays at 9pm, "Dark Rewind" with host August Kyss dives into retro horror gems like "Chopping Mall" and "Incubus".
The Chainsaw Sally Show
The premieres don’t stop there. On Thursday, 20 March at 9pm, NYX screens Diego Cohen's obsession-fuelled Mexican horror "Honeymoon", followed by Anthony DiBlasi’s chilling Clive Barker adaptation "Dread" on Friday, 21 March at 9pm. Other highlights include vampire classic "Count Yorga Vampire" (3 March, 9pm), twisted British horror "Gnaw" (6 March, 9pm), Christopher Lee’s "The Bloody Judge" (10 March, 9pm), and indie favourite "Midnight Son" (13 March, 9pm).
Dread
NYX UK’s March lineup is a must-watch for horror lovers, blending groundbreaking classics with bold new voices. Whether you’re craving visceral body horror, chilling psychological scares, or a dose of campy cult fun, the channel’s curated schedule promises a blood-soaked celebration of the genre’s past, present, and future.
1. For those who may not be familiar with your work, could you please introduce yourself and share how you began your journey in the film industry? What inspired you to pursue a career in horror?
Of course! I’m Megan Tremethick, an actress and filmmaker with a love of gothic horror, psychological horror, and dark fantasy. I’ve been incredibly lucky to work with British Horror Studio/Hex Studios, and Amicus Productions, starring in a range of indie horror films, including The Reign of Queen Ginnarra, Ghost Crew, and the upcoming In The Grip of Terror. I’m also currently directing my first feature film, Spoiling You, a psychological horror inspired by ASMR.
My journey into film began with a deep love of classic horror cinema. I was always drawn to the atmosphere, rich storytelling, and iconic performances in films from studios like Hammer Horror and Amicus.
The first films I worked on were local short films in Cornwall, when I lived there. Those early projects were such an important learning experience, giving me the chance to be on set, collaborate with filmmakers, and develop my craft as I went along. I actually first connected with the team at British Horror Studio after backing their Kickstarter for The Black Gloves, rafting some of the most exciting and ambitious indie horror projects I’ve been a part of. Getting to work alongside such a passionate, tight-knit team has been an incredible experience, and I feel so lucky to be creating films together with them.
Horror has always felt like the perfect genre for me because it’s so emotionally charged, it allows you to explore striking, dramatic characters and deep psychological themes in ways that other genres don’t. Whether it’s gothic horror with a tragic villain at its centre or something more surreal and unsettling, I love films that stay with you long after you’ve watched them.
Megan Tremethick
2. You portray Queen Ginnarra in The Reign of Queen Ginnarra, which is a captivating role. Can you walk us through your experience with this character? How did you come to land this role, and what drew you to the project?
I feel very honoured that when director and writer Lawrie Brewster was writing the script, he wrote the role with me in mind. The Reign of Queen Ginnarra is such an ambitious and unique film, and Queen Ginnarra herself is an absolutely fascinating character. She’s layered, complex, and deeply enigmatic, with so much bubbling beneath a carefully controlled, stoic surface.
When I first read the script, I didn’t know what to expect... but it wasn’t that! She’s not a typical villain, nor a straightforward antihero, there’s a mystique to her, a quiet intensity that makes her incredibly intriguing. What really stood out to me is how much she holds back, she doesn’t reveal much through words or grand expressions, but through silences, glances, and the weight of her presence. That restraint makes her even more powerful and unsettling.
I knew immediately how I wanted to approach her performance because there was already so much richness in the writing to build on. There’s a kind of unspoken history in every scene she’s in, and that’s what made stepping into her role such an incredible challenge, and an absolute joy.
3. Your makeup and costume in the film are truly striking. Can you describe the process of bringing Queen Ginnarra to life, particularly the transformation in the makeup chair? How long did it take, and what challenges did you face with such an intricate look?
Lawrie designed Queen Ginnarra’s costume, while I had the opportunity to design her makeup myself. The whole look was an absolute joy to wear, it felt dramatic, imposing, and completely fitting for a character like Ginnarra.
The costume consisted of a corset, a large hoop skirt under the gown (to maintain its massive silhouette), a structured bodice, an intricate headdress, and a ruff. I also wore 6-inch heels to make Queen Ginnarra feel more imposing. It was surprisingly easy to get into... though moving through narrow doorways was another story! There were definitely a few moments of getting caught on things, but honestly, that just added to the fun of it.
The makeup process was relatively straightforward, taking around 40 minutes to an hour, which is pretty standard. I love the process of getting into costume and makeup, as those physical transformations really help me step into a character’s headspace. With Ginnarra in particular, every element of her look, the way the costume structured my posture, the weight of the headdress, the stark contrast of her makeup, helped me inhabit her presence more fully.
Also, I’ve always had a love for gothic fashion, so getting to embody such an extravagant, regal, and eerie aesthetic was an absolute dream!
Stephen Kerr as Kronus
4. In addition to your acting career, you’ve also stepped behind the camera as a director and writer. Which of these roles did you first explore, and how has your perspective on filmmaking evolved over time? Do you have a preference for one over the other?
First came acting, then I started writing short screenplays, and eventually, I wanted to try and bring them to life. When I was around 17 or 18, I wrote a short screenplay inspired by The Woman in Black by Susan Hill, told from the perspective of Jennet Humfrye (The Woman in Black herself), and made it for a college assignment. Although it’s not available anywhere online, I’m still quite fond of it, I had a lot of fun making it, and it definitely gave me the bug for more creative control than just acting.
A few years ago, I also began writing short horror and fantasy stories, and while I do love screenwriting and work hard to improve at it, I find that prose comes more naturally to me, the words just seem to flow better from my brain onto the page.
The first full short film I directed was Slot, a giallo-inspired Lovecraftian horror. British Horror Studio very kindly collaborated with me, lending their team and vital resources to help bring it to life. Since then, I’ve directed two more short films, worked as a second-unit director on British Horror Studio feature films, and am now most of the way through filming my feature film directorial debut, Spoiling You.
Coming from an acting background has definitely influenced the way I direct. For me, the performance is the most important aspect of a shot (within reason, of course). I also edit my own films, and when choosing takes, I prioritise the actor’s best performance over the most ‘technically perfect’ shot (within reason... haha!).
In the past, whenever I was asked if I preferred acting or directing, I would never hesitate, I’d always say that acting was my first love. But the more I’ve gotten to direct, the harder it’s becoming to pick a favourite. Now, I think the perfect balance for me is getting to do both, playing unusual, exciting, and challenging roles, while also directing projects that push me creatively and help me grow. That’s how I love to spend my days!
5. Horror films often require a great deal of emotional intensity. How do you prepare mentally and physically for some of the more intense scenes in your roles, and do you have any rituals or techniques to help get into character?
For me, each role requires a different approach when preparing for emotionally intense scenes. If the character feels close to me in some way, or if I have personal experiences that I can transplant into the role, then I’ll use a more method-based approach. However, if the character feels far removed from my own experiences, I actually prefer to rely on imagination to fill in the gaps.
I personally find imaginative prep just as effective as method acting, sometimes even more so. When you fully construct a character’s world in your mind, imagining every detail of their life and emotions, it becomes almost impossible not to get completely invested in them and empathise with their perspective, no matter how extreme or detached from reality it might be.
Even with Queen Ginnarra, who has committed truly monstrous deeds, I found myself deeply feeling for her because of the tragedies that shaped her. That doesn’t justify her actions, of course, but understanding what drove her to the edge was crucial in bringing her to life in a way that felt real and compelling.
Andrew Gourlay as Elderon vs The Black Claw Guard
6. As an actress, you’ve worked in both horror and genre films. Are there particular themes or aspects of the horror genre that you are particularly drawn to, or do you enjoy exploring a wide variety of characters within it?
I definitely love to explore a wide variety of themes and characters within the horror genre. One of the things I love most about horror is how versatile and boundary-pushing it can be, there’s so much room for experimentation, whether it’s psychological horror, gothic horror, surreal horror, or something completely different.
I also love a challenge, and that often comes from asking myself, “What role would push me the furthest outside my comfort zone?” If a character feels totally different from anything I’ve played before, that’s when I know it’s something I want to try. I won’t lie, I get super nervous about those kinds of roles, but once I’ve done it, I’m always buzzing. There’s something incredibly rewarding about stepping into a character that initially feels intimidating and finding the truth within them.
At the same time, I’m always drawn to characters with depth, whether that’s a gothic antihero, a tragic villain, or someone in a more psychological, slow-burn horror setting. As long as the role has something interesting, layered, or emotionally gripping, I’m excited.
7. In your experience, what sets working in independent horror films apart from larger studio productions? Are there unique challenges or creative freedoms you’ve encountered in indie horror that you find particularly rewarding?
One of the things I love most about working in independent horror is the sheer creativity and resourcefulness that goes into making these films. While larger studio productions might have bigger budgets and more extensive resources, indie horror thrives on ambition and innovation.
On every film I’ve worked on with British Horror Studio, even though the budgets are tight, the ideas are always incredibly ambitious. That means we all have to think creatively to bring those ideas to life. Whether it’s finding inventive ways to create striking visuals, practical effects, or atmospheric set designs, there’s a real sense of problem-solving and collaboration that makes the process so rewarding.
I also love how indie horror allows for bolder, more unconventional storytelling, there’s a real freedom to take risks, experiment, and explore unique concepts that might not always make it into a studio-backed film. Because the teams are often smaller, everyone feels deeply involved in the creative process, and that makes the final result even more personal and exciting.
Megan Tremethick
8. You have a growing reputation as a filmmaker in addition to your acting. What advice would you give to aspiring actors or filmmakers looking to break into the horror genre? Are there any key lessons you’ve learned that you wish you knew earlier in your career?
My biggest advice for anyone looking to break into horror, whether as an actor or filmmaker, is simply to start creating. You don’t need a huge budget or a big studio behind you to begin telling stories. Find like-minded people, make short films, experiment, and most importantly, learn by doing. Every project, no matter how small, teaches you something valuable.
Another great way to get experience is to take on any role you can on a film set, and that may not be the role of your dreams at the start. Being involved in different aspects of filmmaking will give you a much better understanding of how films are made and help you build relationships in the industry.
Also, just watch films. A lot of them. Study classic horror films, keep up with new releases, and absorb as much storytelling as you can. Some of the best lessons come from seeing how different filmmakers approach tension, atmosphere, and character development.
One thing I really wish I’d known earlier is that while the craft of acting and filmmaking is the heart of it all, promotion is just as important. It’s not enough to create something great, you also have to do everything you can to get eyeballs on the movie! Supporting and promoting the work of your creative team, reaching out to media outlets, attending festivals, and being active on social media all play a huge role in making sure your work actually gets seen.
9. The horror genre has evolved quite a bit over the years, with a rise in psychological and supernatural horror alongside more traditional slasher films. How do you see the genre developing, and what direction would you like to see it take in the future?
I love that so many creative, bold, and unconventional horror films are being made at the moment! The genre is in such an exciting place, with filmmakers pushing boundaries and exploring more psychological, surreal, and thematically rich horror alongside the more traditional styles.
What excites me most is seeing horror continue to embrace artistic freedom. Some of the most interesting films in recent years have been ones that take risks, whether that’s blending horror with unexpected genres, using unconventional storytelling techniques, or tackling complex themes in new and unsettling ways.
I’d love to see that freedom of expression continue to grow within horror. The genre has always thrived on reinvention, and I think its future lies in allowing filmmakers to push past traditional formulas and explore ideas that feel personal, strange, and boundary-breaking.
Megan Tremethick as Queen Ginnarra and Dorian Ashbourne as Prince Raemin
10. Finally, can you share any upcoming projects or roles you’re particularly excited about? What can your fans expect from you in the near future, both in front of and behind the camera?
I’ve got an intense few months ahead... in a good way! I’m continuing my work with British Horror Studio, Hex Studios, and Amicus Productions. That includes In The Grip of Terror, the long-awaited return of Amicus Productions, directed by Lawrie Brewster and starring the legendary Academy Award nominee Jane Merrow and Laurence R. Harvey. I’m also in Black Chariot, a black-and-white neo-noir supernatural thriller featuring Laurence R. Harvey, Novarro Ramon, Dorian Ashbourne, and Sam Barclay.
The Reign of Queen Ginnarra is premiering at Romford Horror Film Festival, with two screenings, Saturday, March 1st at 8 PM and Sunday, March 2nd at 5 PM. I’ll be there alongside some of the British Horror Studio team, and we all can't wait!
Outside of Queen Ginnarra, I’m in the final stretch of filming my directorial feature debut, Spoiling You, a psychological horror film with an ASMR-inspired approach. It’s been one of the most ambitious and wild projects I’ve worked on, and I’m so eager to throw myself into post-production soon.
If you want to keep up with everything we’re doing at British Horror Studio, or even get involved in our future projects, I’d really recommend checking out our Patreon! We’re building an incredible community of horror lovers and indie filmmakers, with exclusive behind-the-scenes content, film updates, and even opportunities to be part of the process. There’s a free tier, so you don’t have to spend anything to join in!
British horror fans have something truly unsettling to look forward to with The Cellar, set for release in 2025. While the exact date remains under wraps, anticipation is already building for Jamie Langlands’ feature debut, which has made a powerful impression on the festival circuit. With over 20 international awards and nine official selections, the film is quickly establishing itself as one of the most talked-about horror releases of the year. The newly unveiled trailer offers a terrifying glimpse into what promises to be a nightmarish and deeply atmospheric experience.
The story centres on Abigail, played by Meghan Adara, a young girl who wakes up in a pitch-black underground cell with no memory of how she got there. As she struggles to escape, she is forced to confront a series of terrifying revelations about her past and the true nature of her imprisonment. Blending psychological horror with elements of existential dread, The Cellar explores trauma, fear, and the unsettling power of the unknown. Its claustrophobic setting and eerie sound design work in tandem to create a relentless sense of unease, drawing viewers into Abigail’s increasingly fractured reality.
Langlands’ vision is brought to life by a strong cast, with Neil James, Charlotte Marshall, and Mickaela Sands rounding out the ensemble. Early praise has highlighted the film’s ability to sustain tension, using minimal yet effective storytelling to keep audiences on edge. The film’s psychological depth, combined with its striking visuals, ensures that this is more than just a standard horror offering, it’s an experience that lingers well beyond the final frame.
With the trailer now available, horror enthusiasts can brace themselves for a truly unsettling journey. The Cellar is coming soon, and if the early acclaim is anything to go by, it’s set to be one of the most memorable horror films of the year.
British horror star Ayvianna Snow is set to terrify audiences once again with two chilling new films, Rumpelstiltskin and St. Patrick’s Day Massacre. Known for her commanding presence in independent horror, she continues to cement her place as one of the most exciting talents in the genre. Both films, arriving this March, promise to deliver gripping suspense, eerie atmospheres, and the kind of fear that lingers long after the credits roll.
In Rumpelstiltskin, a fresh take on the terrifying childhood tale, Ayvianna plays a deadly Succubus who lures unsuspecting men to their doom. The film follows a young woman who strikes a dangerous bargain with a sinister creature, only to realise too late that her first-born child is at stake. Director Andy Edwards, who previously worked with Ayvianna, was certain she was the perfect fit for the role, bringing an alluring yet menacing energy to the screen. The film is set to have its world premiere at the Glasgow Film Festival on 8th March, promising audiences a haunting reimagining of a well-known fable.
Meanwhile, in St. Patrick’s Day Massacre, she takes on a very different but equally unsettling role. Ayvianna plays Kendra, a college student whose night out with friends takes a deadly turn when they are lured into staying at a strange Irish tavern. As the night unfolds, a vengeful undead killer begins picking them off one by one. With Kendra’s obsessive need for cleanliness pushing her to take a late-night shower, the question looms, will this simple act seal her fate? Directed by Steve Lawson, the film promises high tension and brutal slasher thrills, set for release on 10th March.
Ayvianna Snow has spoken about her deep connection to the horror genre, describing how fear is one of the most primal human emotions, reaching places that other genres cannot. Her reputation for intense, captivating performances has solidified her as one of the most compelling figures in British horror, and with two very different but equally terrifying films on the way, her presence in the genre is stronger than ever. Whether seducing victims into the flames in Rumpelstiltskin or fighting to survive a relentless killer in St. Patrick’s Day Massacre, she is set to deliver performances that will leave horror fans breathless.
Leigh Whannell’s Wolf Man delivers a bold and unsettling reimagining of the classic werewolf myth, merging raw family drama with unnerving body horror. Set in the remote wilderness of rural Oregon, the film builds an atmosphere thick with isolation and creeping dread, grounding its supernatural terror in an intensely personal story. While it doesn’t always strike the perfect balance between horror and emotional depth, its commitment to character-driven storytelling sets it apart from more conventional monster fare.
Christopher Abbott takes centre stage as Blake Lovell, a man struggling with both his past and an inexplicable transformation. His performance is nothing short of captivating, capturing the slow and painful descent from loving father to something monstrous. The film takes its time in revealing his metamorphosis, a choice that allows for a deep emotional connection to his character, though some may find the pacing a little too patient. Opposite him, Julia Garner delivers a standout turn as his wife, Charlotte, who is forced to confront the terrifying reality of her husband’s affliction while trying to protect their daughter, played with compelling innocence by Matilda Firth.
One of Wolf Man’s greatest strengths lies in its use of practical effects, a rare feat in an era dominated by CGI. From the earliest signs of Blake’s infection to the moment of full transformation, every stage is realised with remarkable detail, making for an unnervingly tactile experience. The creature design leans into gritty realism, presenting a werewolf that feels genuinely animalistic, stripped of any unnecessary embellishments that might have lessened its impact.
Whannell’s direction is sharp and methodical, crafting an atmosphere of mounting unease. The film relies more on suspense and psychological horror than outright jump scares, with moments of shocking violence carefully placed for maximum effect. The setting plays a crucial role, with the Lovell family’s isolated farmhouse and the surrounding dense forests creating an ever-present sense of vulnerability. The body horror elements are handled with skill, striking a balance between grotesque transformation and restrained terror, making the horror feel all the more visceral.
Despite its many strengths, Wolf Man isn’t without its flaws. The slow-burn approach to Blake’s transformation, while effective in building character depth, risks frustrating audiences eager for a faster descent into horror. The story occasionally feels underdeveloped in places, particularly in its supporting characters, with figures like Derek and Grady serving little purpose beyond brief plot progression. Themes of generational trauma and the struggle to outrun one’s past are present but not fully explored, leaving a sense of untapped potential.
At its core, Wolf Man is a film that values emotional resonance as much as it does horror. It takes a familiar concept and reshapes it with modern sensibilities, resulting in a film that feels both intimate and deeply unsettling. While it doesn’t fully stick the landing, it offers enough tension, strong performances, and striking visuals to make a lasting impression.
For all its imperfections, Wolf Man is an ambitious and haunting take on the werewolf mythos. It may not stand as Whannell’s best work, but it’s a memorable and gripping entry into the genre that deserves recognition. A solid 6.5 out of 10.
Get ready to put your detective skills to the test as Invitation to a Murder is now available on UK digital platforms. This gripping whodunnit boasts a stellar ensemble cast, led by Mischa Barton (The O.C., The Sixth Sense), alongside Chris Browning (Westworld), Seamus Dever (Castle), and Bianca A. Santos (Ouija). With its blend of suspense, intrigue, and period charm, the film promises an enthralling mystery from start to finish.
Directed by Stephen Shimek and written by Gérard Miller, Brian O’Donnell, and Jerome Reygner-Kalfon, Invitation to a Murder transports viewers to the 1930s, setting the stage on a secluded island estate in the south of England. A mysterious billionaire gathers six strangers at his lavish home under cryptic circumstances, drawing them into a puzzle where every guest harbours secrets. Among them is Miranda Green, played by Mischa Barton, an aspiring detective with a keen eye for detail. Her intrigue turns to alarm when one of the guests is found dead, forcing her to unravel a tangled web of deception before the killer strikes again.
The film pays homage to the golden age of detective fiction, capturing the allure of classic murder mysteries while weaving in unexpected twists that keep audiences guessing. Its atmospheric cinematography, sharp storytelling, and strong performances create a thrilling and immersive experience. Each character brings their own suspicions and hidden agendas, ensuring no one is above suspicion until the final reveal.
With its richly detailed setting and tension-filled narrative, Invitation to a Murder is the perfect watch for fans of classic whodunnits. If you’re in the mood for a night of suspense and intrigue, step into the mystery and stream it now on UK digital platforms.
The classic fairy tale gets a wickedly entertaining reinvention in Rumpelstiltskin, a bold new fantasy horror from writer-director Andy Edwards. Set to make its World Premiere at FrightFest Glasgow on 8 March 2025 before landing on digital platforms on 7 April, the film offers a gruesome and darkly humorous take on the legendary trickster. With a fearless female lead, striking visuals and gruesome special effects, Rumpelstiltskin promises a nightmarish thrill ride that lingers long after the credits roll.
Starring Hannah Baxter-Eve, Joss Carter and Adrian Bouchet, the film follows Evaline, a miller’s daughter caught in a web of deceit after her father boasts that she can spin straw into gold. When the King demands proof of this miraculous talent, she finds herself locked in a tower with no way to deliver on the promise. That is until a mysterious, masked creature appears with an offer of assistance, but his price is steep. As greed takes hold and the stakes escalate, a deal is struck that will have horrifying consequences. With the Devil himself entering the fray, the tale spirals into a chaotic and brutal fight for survival where no bargain comes without a cost.
With a mix of grotesque fantasy, razor-sharp wit and unsettling horror, Rumpelstiltskin reinvents the well-known story with a fresh and fiendishly fun approach. Packed with gnarly practical effects, a sharp script and an unpredictable descent into madness, this is no bedtime story.
Premiering at FrightFest Glasgow on 8 March before its digital release on 7 April, Rumpelstiltskin is set to leave audiences spellbound with its twisted take on a classic tale.
