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FIOFF ’15 Submissions to Die For: Zach Lorkiewicz’s “BLOOD”

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Welcome to SUBMISSIONS TO DIE FOR, the latest column focusing on highlights among the FANGORIA International Online Film Festival Submissions. While being featured on this column does not guarantee selection in the FANGORIA International Online Film Festival, SUBMISSIONS TO DIE FOR features some scare fare worth keeping an eye on…

On the surface, Zach Lorkiewicz’s BLOOD is more-or-less a simplistic spin on Poe’s TELL-TALE HEART, following a mysterious killer as he begins to experience bizarre signs from his victim. But where BLOOD differs from HEART is in the fact that Poe targets his psychopath’s inner monologue as it drives him closer and closer to the brink of insanity, whereas BLOOD takes a cold, patient look at this killer as the line blurs between the hallucinatory and the supernatural. And perhaps in its most compelling sense, BLOOD relies heavily on the perception of the viewer, refusing to give away too many answers in order to ramp up the tension and build to a tragic finale.

Almost completely dialogue-free, BLOOD starts off with a lonely, stoic man cleaning his daughter’s room before moving into his living room to reveal a dead body, wrapped in plastic. Upon unveiling his victim, he removes a locket from around her neck, only to get a dab of blood on his fingers. However, the blood sends the man into a panic, furiously scrubbing his hands and vomiting into the toilet as he regains his composure. Afterwards, he rids himself of the body… only to realize that this crime scene isn’t one that is cleaned up so easily.

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With a cryptic eye and a wonderful use of space, director Lorkiewicz is able to build some excellent tension out of BLOOD, especially once one realizes how important the smaller details are in each scene. There’s a very deliberate, concise reason that this experience is happening, and with the introduction of various scenery and imagery comes a subversion of said elements later on in the film. And there’s even specific moments that are quite scary, especially when married to the static sounds and slow-burn pace of BLOOD, as well as the demented direction the film takes in its third act.

Lorkiewicz isn’t the only one whose efforts make BLOOD such a memorable, macabre short, however. Cinematographer Annaliese Sloves frames the film in a stark, effective way, which especially works for something such as BLOOD where dialogue is minimal. Special FX Makeup by Bek Lieto, Crystal Portillo and Tracy Rosenblum are also very effective, especially in the detailed skin tones in the first reveal of the body as well as their work for when the film really lives up to its name. All in all, BLOOD is a psychological creepshow that really sticks with the viewer, and employs a twist ending that will make eagle-eyed audiences want to watch it all over again.

To submit your film to the FANGORIA International Online Film Festival, you can visit the fest’s official website HERE.

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About the author
Ken W. Hanley

Ken W. Hanley is the Managing Web Editor for FANGORIA and STARLOG, as well as the former Web Editor for Diabolique Magazine and a contributing writer to YouWonCannes.com. He’s a graduate from Montclair State University, where he received an award for Excellence in Screenwriting. He’s currently working on screenplays, his debut novel “THE I IN EVIL”, and various other projects, and can be followed on Twitter: @movieguyiguess.

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