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Scream Room2019-03-01T11:02:45+00:00

Project Description

SCREAM ROOM is the first horror film to be brought to FOS by Laurence Jones and John Paul Chapple of The Horror Lab.

Laurence and John Paul have recently joined FOS as non-executive directors.

A frustrated stay-at-home mum, desperate to revive her career, starts to believe her troubled son is being haunted by a malevolent spirit.
Russell and Kay live with their two young boys in affluent suburbia. But their seemingly idyllic life hides a terrible secret.
Russell, a prominent architect, is weeks away from unveiling his newest and biggest building to nationwide acclaim, while Kay watches from the confines of their home; her own successful career sacrificed to raise their family.
Kay’s stay-at-home-mum status has become an albatross around her neck, her low self-esteem compounded by Russell’s aggressive, outdated belief that Kay should be content running a happy home and being the loyal wife. Kay silently rages against what she has become. When Kay starts hearing strange whispering noises coming from the boys’ bedroom late at night, she initially thinks they are playing tricks on her, but increasingly scary nighttime occurrences make her wonder if it’s more than just childish games.
Russell has little time for Kay’s concerns, or her desire to return to work, and buries himself in his much-lauded work project. Kay is left feeling more alone than ever, and as she battles to revive her career in secret, against Russell’s wishes, she tries to get to the bottom of the unsettling incidents happening inside their home.
In doing so, Kay uncovers a series of shocking, scary revelations that expose a mother’s worst nightmare: her children are not safe in their own home. Kay has to confront her worst fears to save her family, even if that risks tearing her family apart.

SCREAM ROOM is a contemporary horror reimagining of Ibsen’s DOLL’S HOUSE, with the theme of outdated gender expectations being an obstacle to achieving personal satisfaction. Like Nora in A DOLL’S HOUSE and Nicole Kidman’s character, Celeste, in BIG LITTLE LIES, it explores the character who is so immersed in self-denial they can’t see the problem is right in front of them, and raises the question: when will she realise, what will she do when she does… and how far will he go to stop her?

Written by Jared Kelly.

Emily recently made comedy horror short IT SHOULD HAVE BEEN ME for Sky Arts Halloween Comedy Shorts, with Merman producers Clelia Mountford and Sharon Horgan (CATASTROPHE). Her controversial short COLD WARRIOR, UK Premiered at the Edinburgh IFF, won the Best Short Film Youth Jury Award at Flickers: Rhode Island IFF and the Meeting Point Special Mention Award at the Seminci Valladolid FF. A NEUTRAL CORNER won Best Short Film at the Kodak Showcase, and was the Opening Night film at the Dinard British FF in front of Ken Loach’s IT’S A FREE WORLD. SNOW was official selection at the New York FF in front of Hong Sang Soo’s TALE OF CINEMA. Emily is an alumna of various talent programmes, including the EIFF Talent Lab, Guiding Lights, the Berlinale Talent Campus and BFI Think-Shoot-Distribute.

Scream Room Director Emily Greenwood

Director’s statement:

“My favourite scary movies are the ones that operate mostly on a psychological level – the ‘elevated horror’. Some great new innovative horrors came out in the last few years, such as IT FOLLOWS, DON’T BREATHE, GET OUT and LIGHTS OUT. They all strike a successful balance between jump scares and creepy suspense, without skimping on story. These are horrors with a strong thriller element, inspired by the old classics such as THE SHINING, HALLOWEEN and ROSEMARY’S BABY, with interesting stories that keep you engaged and invested in the characters.

“I’m interested in Hitchcock’s definition of suspense. Creating a sense of horror in the viewer’s mind, of something evil that can’t be stopped. Manipulating the audience into believing something awful is about to happen, even when it might not. What you don’t see is what’s scariest. I want to give the audience a feeling of distress and haunting contemplation. Creating tension is key, but the momentary fright is equally important.”