Epic Fantasy to Drag Queen Horror: Cannes’ Frontières Platform Unveils Diverse 2025 Lineup

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This year’s Frontières Platform in Cannes appears set to feature three exceptional films: Robert Ten Eyck’s “Skin Side Up,” Sebastian McKinnon’s “The Stolen Child,” and Richard Raaphorst’s “Children of the Moor.” These projects have the promising potential to shine as some of the festival’s most outstanding showcases.

The movie “Skin Side Up” is introduced as Drag Queen Horror and has a thrilling promotional video. This film represents the first directorial feature for Australian Ten Eyck, who previously emerged victorious on RuPaul’s “Drag Race Down Under” in its fourth season, under the persona of Lazy Susan.

Set amidst visually striking landscapes of British Columbia forests, Iceland, and France from last October to this July, “The Stolen Child” stands out as the most prominent film at this year’s Platform. This Tolkien-inspired dark fantasy is the sole Platform title that has been acquired by a sales agent: Germany’s Picture Tree International.

Richard Raaphorst’s latest work, titled ‘Children of the Moor’, is a noteworthy production from the Netherlands. Known for his acclaimed 2013 horror action film “Frankenstein’s Army” sold by XYZ Films, this new project features remarkable creature designs and practical effects that truly shine. In ‘Children of the Moor’, the creatures, appearing as corpse-white, fly-infested beings with a leader boasting a bloated mushroom head, are particularly striking.

Over the dates of May 17th to 18th, the Frontières Platform offers a blend of projects in the Proof of Concept phase and a Buyers Showcase featuring titles still in post-production. This platform also underscores the expanding influence of genre cinema as it continues to gain acceptance within the global film community.

This year, the Frontières Platform program, which is supported by Canada’s Fantasia International Film Festival and Cannes Marché du Film, received more than 100 submissions. That’s significantly higher than the 82 submissions it had in the previous year, as mentioned by Annick Mahnert, the program’s executive director.

An increasing number of companies, which were not previously involved, are reaching out to me with questions such as ‘How can we join your Platform?’ or ‘Is it possible for us to visit Montreal?’

This situation can be attributed to three main factors:

1. The search by companies for international funding sources.
2. The rise of certain genres as trends in the U.S. theatrical market.
3. The acknowledgment and appreciation of Frontières’ curation, particularly for strong titles backed by respected producers.

Companies are looking overseas for money, some movie genres are popular in the U.S., and Frontières is being recognized for selecting good movies that have well-known producers supporting them.

This year’s title-producing companies encompass firms such as Spain Federation, a division of Federation Studios, led by Juan Sola who has worked on films like “Retribution” starring Liam Neeson. They are also responsible for the production of “Proof of Concept: Who Knows?” alongside Corte y Confección de Películas, the makers of the Canneseries winner “Perfect Life.”

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Companies producing titles this year include Spain Federation (under Federation Studios) led by Juan Sola, whose credits include Liam Neeson-starrer “Retribution”. They’re also behind the production of “Proof of Concept: Who Knows?” in collaboration with Corte y Confección de Películas, creators of Canneseries winner “Perfect Life.”

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For this year’s titles, we have companies like Spain Federation (part of Federation Studios), led by Juan Sola who has worked on films like “Retribution” starring Liam Neeson. They are also the production team for “Proof of Concept: Who Knows?” in partnership with Corte y Confección de Películas, known for their Canneseries winner “Perfect Life.

Marc Schießer, both writer and director, described ‘Taste of Heaven’ as a blend of physicality, sustenance, desire, and mortality. This production hails from Germany’s independent studio Outside the Club, co-founded by Tobias Lohf and Marc Schießer, known for their Grimme Award-winning series ‘Wishlist,’ popular ARD Mediathek show Almania’s pilot episodes, and the third German Amazon Original ‘Trunk.’

Produced by Cellophane Studios and Iris Arc Pictures, the film titled “Skin Side Up” was created by Lauren Simpson, who also produced the award-winning movie ‘Godless: The Eastfield Exorcism.’ This movie garnered an Audience Choice Award at the Sitges Festival in 2023, followed by a worldwide theater release and streaming platform debut.

McKinnon’s Five Knights Productions is collaborating on “The Stolen Child” with Metafilms from Quebec, the same team behind Matthew Rankin’s “Universal Language,” which was highly recommended by EbMaster’s Critics. Additionally, Tara Cowell Plain at Cowpi Media, who has been involved in over 65 films as a producer or director, is also participating in this project.

2021’s platform showcases the ongoing evolution of genres through innovative ideas like “drag queen horror” and “imaginary friend horror” in “Henry’s Ebb”. Additionally, it introduces titles from diverse sources such as Malaysia (“Baran”) and Cyprus (“Motherwitch”).

This year’s platform highlights the continual reinvention of genres through fresh ideas – drag queen horror and imaginary friend horror in “Henry’s Ebb”, for example. It also features titles from new regions, like Malaysia (“Baran”) and Cyprus (“Motherwitch”).

Mahnert expressed his joy when they received a Malaysian genre film submission, as there aren’t many of them. The movie, a blend of folklore horror and ghost story aesthetics, stood out as it was made in Malaysia with high quality production. Similarly, he was intrigued by ‘Ancestral Beasts’, a rare gothic horror tale rooted in Cyprus mythology, as it’s one of the few projects from the Cree region we’ve received.

The reason genres are widely appreciated might stem from their versatility. As Mahnert points out, “Genres provide a platform for filmmakers to narrate their tales, be it exploring mental illnesses, using folklore, or depicting cultural conflicts.

According to director Thomas Mendolia, “Baran” explores intergenerational abuse, “Henry’s Ebb” delves into how children cope with trauma, and “Feed” confronts the gruesome reality of breastfeeding. On the other hand, “Turn It Up!” and “Taste of Heaven” focus on the fixation with success, while “Who Knows?” tackles the ennui of Millennials. As for “Motherwitch”, as explained by writer-director Minos Papas, it’s a multifaceted film that can be described as a fairy tale about parenthood, grief, and our efforts to conquer sorrow. The movie weaves a magical narrative about creativity versus rage, while delving into the delicate creative spirit within us all.

All in all, the Platform is a rich panorama.  

A drill-down on individual titles:

BUYERS SHOWCASE

“Baran (Inheritance),” Joel Soh (Malaysia)

This Malaysian production, titled “Baran: Inheritance,” offers a chilling narrative about a son confronting the supernatural entity his father kept hidden. It’s a blend of generational turmoil and supernatural terror, hailing from Soh’s BlackFlag Sdn. Bhd, the same team behind the popular local action comedy film series “Polis Evo.” As Soh explains, this film subtly mirrors the folklore of Djinn-inheritance with the terrifying traits we unknowingly inherit from our parents.

“Bloodsucker,” Kasper Juhl (Denmark)

In this psychological journey into darkness, the concept of vampirism symbolizes the loss of self and personal autonomy. Renowned Danish director Kasper Juhl, who has been nominated for Denmark’s Robert Awards thrice, presents a raw, grimly realistic, and blood-filled depiction of transformation, as documented by his friend Danihjel using an amateur video camera with a chuckle. Juhl explains that the aim of “Bloodsucker” is to create the darkest, most brutal vampire movie ever made, while also weaving a poignant tale about life’s chaos and the appeal of the taboo and forbidden.

“Henry’s Ebb,” Thomas Mendolia(U.S.)

The movie “Henry’s Ebb,” directed by Mendolia following the success of his Fantasia short “Mr. Thisforthat,” is a southern-based, coming-of-age story reminiscent of “Stand By Me.” However, it infuses elements of genre into its narrative. A boy’s imaginary friend becomes ominous in this blend of childhood fantasy and reality. Rising stars Kingston Southwick (“Presumed Innocent”) and Banks Repeta (“Armageddon Time”) take on the leading roles. For Films is the production company behind it. What makes “Henry’s Ebb” unique is its authentic, emotional approach, as pointed out by Mendolia.

“Motherwitch,” Minos Papas (Cyprus, Northern Macedonia, U.S.)

Presented as “Cypriot Gothic,” Papas’ third film is titled “Motherwitch” and takes place in the year 1882 on the island of Cyprus. In this folklore-based horror story, a sorrowful painter and mother unearths more than mere memories in this eerie nightmarish tale. Constantinos Nikiforou from Caretta Films in Cyprus describes it as “a compelling folk horror narrative, drawing on unique Cypriot folklore, narrated with the style of a dark fairy tale.” The production is carried out by Caretta Films in collaboration with Focus Pocus from North Macedonia and Cyprian Films New York.

“The Stolen Child,” Sebastian McKinnon (Canada)

A grand, fantastical tale unfolds amidst the chaos of battling realms and mystical Faerie kingdoms. McKinnon’s film blends the expansive atmosphere of Tolkien with the haunting eeriness of “Stalker” and a profound sense of weightiness, frequently drawing inspiration from W.B. Yeats as four unlikely heroes – The Poet, Knight, Steed, and Plump Princess – embark on a quest to bring peace back. McKinnon explains, “My goal was to strike the right balance between minimal art-house and epic adventure films, while providing an authentic portrayal of Celtic Faerie folklore that will resonate with audiences around the world, offering something captivating, lyrical, bold, and fresh.

“Turn It Up!,” Samuel Scott (Canada)

This movie, a unique blend of punk rock, sci-fi comedy, and horror, follows a struggling band entangled in a sonic mystery that leads to chaos with elements like mad scientists, exploding heads, and multiple dimensions. Producers Liv Collins and Jesse Thomas Cook describe it as an affectionate tribute to independent music and horror, capturing the odd juxtaposition of pursuing art amidst cosmic turmoil. The tagline for this Fantasia 2022 title, “Cult Hero,” is ‘Play the Riff. Face the Void.’ This production by Collingwood Film Company earned six Canadian Screen Award nominations.

PROOF OF CONCEPT

“Ancestral Beasts,” Tim Riedel (Canada)

A distressed Native woman goes back to her ancestral lands to overcome the metaphorical demon that’s disrupting her existence, but inadvertently summons a genuine ancestral beast. This is the second film by Canadian writer-director-producer Riedel (“Jackstones”), inspired by his personal story as the son of an Indigenous (Red River Métis) woman who was forcibly removed from her family during the ’60s Scoop. He explained that later in life, she was diagnosed with Borderline Personality Disorder due to the traumatic experiences she had endured, to EbMaster.

A Native woman struggles to defeat a symbolic demon from her past by returning to her ancestral home. However, she accidentally awakens a real ancestral monster instead. The film is based on the true story of Riedel, a Canadian writer-director-producer who is the son of an Indigenous (Red River Métis) woman taken away from her family during the ’60s Scoop. He disclosed that in later years, his mother was diagnosed with Borderline Personality Disorder as a consequence of the distressing events she experienced, to EbMaster.

“Children of the Moor,” Richard Raaphorst (Netherlands, U.K.)

A family relocates to an isolated farmhouse in the countryside, where their teenage daughter uncovers that the property is inhabited by the ghostly presence of children who were tragically slain there decades ago. “Our short film ‘Gnomes’ was warmly appreciated globally, and truly embodies our methodology: Unconventional, subtly surreal, artisanal movie-making with a unique mood and an untamed visual style,” commented Marijn van der Ploeg, producer of Mad Scientists Movement.

“Feed,” (Nancy Urich, Canada)

Under the guidance of Nancy Urich, a producer from Cut/Off/Tail Pictures in Nova Scotia, who was involved in “The Crescent” (2017) and “Tin Can” (sci-fi thriller feature), both directed by company partner Seth A. Smith, we now have a project in the works. This involves a heartbreaking story of a mother breastfeeding and an elderly woman offering her a cream with chilling origins. In this production, we’re blending real-life horror elements with folklore creatures and other enjoyable 80s/90s horror influences. Nancy Urich explains that the aim is to have fun, so let’s do just that!

“Light Years,” (Vergard Dahle, Norway)

A space explorer, floating in the cosmos, recovers fragments of forgotten memories, discovering he has a child he never knew about. This is the debut film as co-writer and director by Dahle, supported by the Norwegian Film Institute. As Dahle explained to EbMaster, “Light Years” extends the genre of ‘Nordic Noir’ into an unexplored sci-fi realm, blending deep psychological complexity with a character-driven, artistically ambitious narrative that captivates and ultimately offers an immersive, emotionally impactful experience.

“Skin Side Up,” (Robert Ten Eyck, Australia)  

At a distant hen party, the drag queen Bertha Woodhouse engages in a “affirmations” game with only four attendees. An anonymous note is found: “I’m not sure who these people are. I need help.” Bertha appears to embody both fashion and a seemingly genuine central character, as Ten Eyck described it, a “deeply human story about identity, control, and survival,” for EbMaster.

“Taste of Heaven,” (Marc Schießer, Germany)

In this chilling psychological thriller, an aspiring chef named Joline yearns to showcase her exceptional culinary skills at the prestigious fusion restaurant Heaven. Her unusual bond with her boss, Mrs. Su, evolves into a complex interplay of desire, pleasure, and power. Unbeknownst to her, Joline becomes the mysterious ingredient that completes the dish, as she tragically discovers too late in the game. Producer Lohf describes it as a struggle for identity, obsession, and the relentless chase for artistic excellence in the realm of culinary mastery.

“Who Knows?” (Carlo Padila, Spain)

In collaboration with director Carlo Padial (also known as Dr Portuondo), this production is a blend of social commentary, dark comedy, and psychological horror, drawing inspiration from Guy de Maupassant’s “Qui Sait?” The protagonist, a recently divorced illustrator, fills his apartment with second-hand items purchased from an eerie vendor. As executive producer María Rocher explains, Carlo Padial masterfully merges absurd humor with chilling social satire, weaving together the daily lives of young adults in Barcelona, surrealism, and online conspiracy theories.

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2025-04-09 11:49