- Share
- Share
- Tweet
I’ve covered hundreds of festivals since starting my writing career. Out of all of the festivals I cover, Tokyo Horror Film Festival remains supreme. There is so much that goes on behind the scenes that festivalgoers, and even the filmmakers involved, don’t realize. The team behind the Tokyo Horror Film Festival is beyond hospitable and genuinely great people. It’s truly the highlight of my year when this festival comes around. Let’s take a look at some of the amazing short films that played this year’s fest!
Stand Out Shorts at Tokyo Horror Film Festival 2026
A Última Fita
Written and Directed by Caroline Adrielli
A nice getaway turns into literal hell for a group of friends. After arriving at the house, they stumble upon a set of VHS tapes that depict some rather horrific crimes. But that’s not all they find. When one of the friends finds a camcorder, all hell breaks loose.
The Last Tapeis an incredibly fun and gnarly take on the found-tape trope. Post-Sinister, this niche subgenre became incredibly tricky to tackle. Even though I wasn’t a huge fan ofSinister 2, the death tapes in those films really set a bar. Writer/director Caroline Adrielli scales the found tapes in this film to a level that perfectly suits its tone and atmosphere. It’s delightfully mean and wholly creative. If this isn’t a proof of concept for something larger, I’d be surprised!
They Rose From the Grave and It Was… The Apocalypse!
Written and directed by Domenico Montixi // Music by Fulci
A rogue pastor attempted to open the gates of hell in 1880. Four mercenaries stopped him. Now, two people accidentally bring the pastor back to life after a botched trip to a psychic. The mercenaries and the pastor work their way through hapless victims, and only the people who brought them back can bring an end to it all.
Incredibly fun and fantastically horrifying,They rose from the grave and it was… the Apocalypse!brings a very fresh take to 70s and 80s-esque euro horror. It’s a gorgeous homage to one of horror’s greatest eras. Domenico Montixi expertly brings the styles of Italian greats and Jean Rollin into a final product that feels incredibly original. From some genuinely gorgeous practicals to a hell of a score from Fulci, this film is a fantastical visual treat.
Gosei
Written and directed by Dani Alías
Day in and day out, everything is the same. Go to work, go home. The only way to overcome the monotony of everyday life is to grow with it. But at what cost?
Goseiis a short and sweet piece of techno horror that builds a bigger universe than it needs to…and it’s better for it. Dani Alias’s film comments on the inefficiency of over-efficiency; it’s a somber look at the true implications of extreme technological “revolutions.” What’s most impressive aboutGoseiis how ambiguously revealing it is. It keeps you engaged by giving you just enough to put the pieces together, while still remaining ambiguous enough to be thought-provoking.
Oh, and I believe a film from Dani Alias and Timo Tjahjanto would absolutely rip.
3:03 AM
Written and directed by Koya Denton, creature design and SFX by Suzi Battersby (BadGirlFX)
While watching a royalty-free cartoon at night, Michelle (Ibinabo Jack) hears a very strange sound.
Just likeGosei,3:03 AMis short, sweet, and to the point. Koya Denton creates the perfect conduit for Suzi Battersby’s creature to shine. But what makes this film so great is how you are left to see the creature in short bursts. (Although I did pause the film at the exact moment of the creature to get a good look and BOY HOWDY does that thing look gnarly!) To me,3:03 AMhas the trappings to be as successful as theLights Outshort was.
Very Prosperous Men
Cordial Steward (Scott Subiono) is training a soon-to-be bible salesman, Kindly Gent (Dustin Ingram), on the ins and outs of what it takes to be successful. But an accident leads Kindly Gent down a path that questions his righteousness and life. This all leads to a question of whether God truly forgives, and what lurks beyond the unknown.
Aside from the name,Very Prosperous Menfeels very Cohen-y (in the best way possible). It stands along the likes of Francis Galluppi’sLast Stop in Yuma Countyfor Cohen-like films that feel inspired while staying wholly original.Very Prosperous Menis a uniquely fun film with well-written characters, a story you won’t necessarily see coming, and enough viscera and sinew to please genre fans.
Also, one quick thing to note. This film takes place in the 60s, and that’s something you don’t see short films do much anymore. When it comes to short films, you have a duty to tell as whole a story as you can, while still making it visually entertaining. Short films don’t often have the ability, either due to budget or time, to craft a period piece. Josiah Walker and the entire team involved expertly design the feeling of the 1960s (or at least, it portrays the 60s in a way that I’ve seen in film). Taking a risk like this for a short film can go either way, andVery Prosperous Mencrafts the perfect period piece.
Tasty Bones
Written and directed by Ronald Short // creature design by Eugene Ferrer III & Other Side Prints
A gorgeous woodland outing between a group of friends turns deadly [cute] when a mysterious creature appears from the woods.
The Whistler is just a little [big] guy! Eugene Ferrer III and Other Side Prints’ creature is so freaking cute! I can’t get over the design of this killer creature. There isn’t too much to say aboutTasty Bonesother than it’s hopefully a proof of concept for a larger-scale production of The Whistler…because I would watch a feature-length version of this!
Room 404
Written and directed by Itsuki Kadota
A young woman finds herself working behind the front desk of a sex motel. One night, she gets a call from a patron who asks for a wellness check in room 404, as strange noises are emanating from the room. But what she finds in the room changes her whole outlook on life.
Room 404is a nasty piece of genre that’s as heartbreaking as it is startling. Don’t let this film’s cheery disposition fool you. If you allow it to,Room 404will rip your heart out of your chest and laugh in your face. If someone tells you they see this ending coming, they’re lying. Itsuki Kadota’s film does something that many short films struggle with: making you feel. If you find yourself at a festival and see thatRoom 404is playing, you better make damn sure you take the opportunity to see it.
Prey Kill Fuck Repeat
Written and directed by Rauli Ylitalo
A young lady (Jaana Joensuu) finds herself on the run from threeMad Max-looking troublemakers. But not all is as it seems when the tables get turned.
Prey Kill Fuck Repeatwalks a tightrope of good taste that barely redeems itself by the end. To the point of frustration, it begins to feel like a film you need to turn off, but it ultimately redeems itself in a brutally satisfying way. The main issue I have with this short is how comedic it is. Yeah, the comedy lands, but it teeters between good and bad taste to the point of tedium.
Necrosectos
Written and directed by Javier Lozano Sánchez
A horde of tiny insects invades a home, leaving nothing but havoc in their wake.
I don’t know about you, but I always get emotional when a film starts with a tribute to the filmmaker’s parents.Necrosectosfades from black to a simple “a mi padre”. While searching for actor/filmmaker information for this film, I found aninterviewwith the filmmaker that helps put this film into perspective. Javier Lozano Sánchez had plans to make a film with his parents, but after coming up with the idea, his father tragically passed away. A few years later, he decided to bring the project back and cast his mother as the lead.
Necrosectosshows the true beauty of independent filmmaking. It’s gorgeously shot and extremely well executed, and nearly everything was done by Javier. In fact, I learned in the interview that he learned how to do VFX just to make this film. Rather than trying to beat around the bush, teasing you to get amped up to check this film out, I’d much prefer to take a simpler approach.
You need to seeNecrosectos. The beauty and craft behind this project seeps through each frame. If you have the opportunity to check outNecrosectos, then please go see it.
‘Hostel’ (2005): A First-Time-Watch Review
Film Fests
Chattanooga Film Festival 2026: ‘Jump Scare’ Review
Every once in a while, a festival film oozes with so much craft that it’s hard to believe it exists. I’ve only seen a handful of films on the circuit that filled me with seething jealousy that I didn’t come up with them first. Films likeAll Jacked Up and Full of Worms and Jimmy & Stiggs are two of the main films that come to mind. As I round out my coverage for this year’s Chattanooga Film Festival, I inadvertently ended with a film that rivals American Theater for my Best of the Fest. Donnie Hobbie’s Jump Scare truly astounds on nearly all fronts and shows how to pay homage to the films (and filmmakers) that are beloved, while still remaining original and unique.
What is Jump Scare About?
The metal band known as Jump Scare, comprised of Val (Chelsea Talmadge), Jen (Erin Ruth Walker), Kye (Shannon Dang), and Debbie (Madison Abbott), head to a cabin in the middle of the desert to work on their latest album. Little do they know that their closest neighbors are a hellbilly’s worst nightmare. One by one, Jump Scare gets smaller and smaller as the neighbors reveal their true horrors. But the band doesn’t take too kindly to the onslaught of violence brought towards them. Metal may not be dead, but Jump Scare might be very soon.
How Did We Get Here?
Writer/director Donnie Hobbie’s Jump Scare is a truly unique piece of genre that pushes the boundaries of good taste in some fascinating ways. Hobbie’s distinct style blends homage and originality in a way Tarantino could only wish for. What’s fun about Jump Scare is how you can truly feel the love for the films considered ‘inspired by’ while still being able to see and feel Hobbie’s personal style. Jump Scare is a dash of Tarantino, Rob Zombie, and Panos Cosmatos, with a heaping spoonful of Hobbie. But in saying that, I fully acknowledge that only Panos Cosmatos could make a film as great as Donnie Hobbie.
Hobbie’s adrenaline-fueled story is not only expertly crafted, but chock-full of blood, guts, and viscera; it’s the epitome of a midnight movie. From blood geysers, hammers to heads, and shotguns galore, Jump Scare has a kill for everyone. While the effects, both practical and digital, make the film a blast to watch, it’s the performance of the main cast that sells this film. Have you ever watched a film and thought, “No one else could ever play this role”? That’s exactly how I feel about Jump Scare‘s cast. Every single actor was perfectly cast, and I can’t picture this film without every single one of them.
The Deeper Meaning Within Jump Scare
Not only is Jump Scare visually entertaining, but it has a deeper message that may become easily lost within the chainsaws and hammers. The running commentary in the film centers around the question “is metal dead”? This comes on the heels of the idea of sampling within metal music. When sampling comes up, the idea of art theft is broached. And this got me thinking. Jump Scare‘s antagonists are cannibals, and, if you think about it, sampling is a form of art theft. And what is art theft if not a form of self-cannibalism?
Jump Scare weirdly embodies this analogue of art theft = cannibalism. When art STOPS being original, when artistry is stripped away, are we not just creating more of the same? That’s why mainstream music, a la songs heard on any IHEARTRADIO station, doesn’t sit well with many people. That’s not to say sampling (or paying homage) is bad by any means. It’s when the main appeal of your song (or film) is solely predicated on work done [better] by others that came before, then what the hell are we doing?
Proper Homage vs. Soulless Ripoffs
That’s why Jump Scare works so well. There’s one particular scene that could easily be described as Hobbie’s version of the ear scene in Reservoir Dogs. But even in this explicitly blatant reference, Hobbie still makes it his own. Every time you watch one of those YouTube compilations that shows the original version and Tarantino’s version next to each other, it’s nearly impossible to tell the difference. It’s where substance and style clash. I love a Tarantino film (not the man) as much as the next person, but it’s impossible to watch one of his films without questioning, “which filmmaker did he steal this from?” While watching Jump Scare, you can pick out the inspiration without feeling bogged down by a soulless ripoff.
Jump Scare surprised me until the very last second, something that films struggle to do nowadays. God, I sound old. If you’re looking for a truly insane double feature, you could easily pair this film with Chainsaws Were Singing or All Jacked Up and Full of Worms. But if you just want to see the most truly surprising Eric Roberts cameo, then Jump Scare will fill that void for you.
Film Fests
Chattanooga Film Festival 2026: ‘Frankie, Maniac Woman’ Review
I’ve said time and time again that horror comedies/dark comedies aren’t my forte. Filmmakers often don’t find the right balance between horror and comedy, usually resulting in a mishmash blend that feels unfocused and lacking. Moreover, I love ambitious films; horror comedies don’t often lend themselves to ambition. (That’s not a diss by any means.) Films likeTucker & Dale vs. Evil,The Draft!, andChainsaws Were Singingare just a few that really broke the mold for me. Thanks to the lovely programmers at Chattanooga Film Festival, I can now addFrankie, Maniac Womanto the list of exceptional horror comedies.
Frankie, Maniac Woman Delivers a Bloody Twist on Horror Comedy
Frankie Ramirez (Dina Silva) is trying to break into the industry one way or another. Little did she know that her fame would come at a bloody price. Denial after denial, being told she’s not skinny or pretty enough, when enough was enough…Frankie takes her revenge. Can Frankie slash her way to the top of the charts? Or will her path of violence become too much for her to handle?
Co-written by Dina Silva and Pierre Tsigaridis and directed by Pierre Tsigaridis,Frankie, Maniac Womanis truly a sight to behold. Pierre Tsigaridis’ third feature film takes us to a deeper level than we’ve seen before (though that might not be fair to say, as I’ve only seen his first film,Two Witches). But much of the joy from this film comes from Silva’s co-writing and performance. Oh yeah, and the gloriously violent nature of it all.
Dina Silva Creates One of Modern Slasher Horror’s Best Villains
Dina Silva’s occasionally masked portrayal of Frankie brings us one of horror’s greatest villains of all time. Rarely do we see women in horror take the main stage as such a violent force of nature. And what we also see is a devilishly smart script. Silva and Pierre Tsigaridis’ creation of Frankie brings us both a protagonist and an antagonist. Frankie wants this life where she can live as the performer she is meant to be (because Silva’s voice is gorgeous). On the other hand, Frankie’s direct actions will make sure she never has a career, you know, with the slayings and all.
The beautiful nature of Frankie’s character is the moments of realization that she has warped the trajectory of her future with each subsequent kill. She could stop, sure, but what if killing is what she was meant to do all along? Frankiedoeshave an amazing voice, but Frankieisa fantastic serial killer. If only there were a world where she could do both.
Frankie, Maniac Woman Proves Great Slashers Need Great Stories
Now I’m unable to access the screener again, and the IMDb credits do not show the name, so I can’t fully praise the people in charge ofFrankie, Maniac Woman’s SFX. A film likeFrankie, Maniac Womanshows me just how wrong modern slashers are. TakeTerrifier,for example.Terrifier’s story is bland, uninspired, recycled, and lazy. It’s nothing but filler around a series offinekills.Frankie, Maniac Womanuses its kills to emphasize its incredibly well-written story. A fine film has a story that’s enough to pass the time; a great slasher has a story that uses kills as exclamation marks.
Frankie, Maniac Woman’s kills are punctuation marks that are a level above exclamation marks. Whatever that may be. Frankie is an unstoppable killing machine, until she can be stopped. She’s not this infallible entity who can take six bullets to the torso and keep lumbering on…she’s just a person. A person with feelings, stamina, and brilliant comedic timing. She’s someone you could easily see yourself being friends with (as long as you didn’t know about the killings (hell, maybe even if you knew about the killings if that’s your thing)).
Frankie, Maniac Woman Is One of the Best Festival Horror Films of the Year
Frankie, Maniac Womanis a devilishly stylized slasher that exudes camp and craft. When was the last time a film made you cry from laughter and sadness? When was the last time you watched a film so viciously riotous that you hoped things would just…work out in the end? On top of being funny, brutal, and bloody as hell,Frankie, Maniac Womanis a genuinely ‘G’reat film. It’s one of the few festival films I’ve seen that’s unquestionably Criterion-worthy.
