Tag Archives: Sydney Underground Film Festival

Dead Wrong: Snatchers Revives The Body Snatcher with Aussie Dark Humour

30 Saturday Aug 2025

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Dark comedy has always thrived on uncomfortable juxtapositions, and Snatchers, the Canberra-made debut from directors Craig Alexander and Shelly Higgs, gleefully leans into the clash between the morbid and the mundane. A contemporary riff on Robert Louis Stevenson’s The Body Snatcher, refracted through the lens of Australian gallows humour, it delivers a brisk, twisty tale of desperation, friendship, and the fine line between survival and exploitation.

The set-up is deceptively simple. In a near-dystopian Australia, lifelong friends Mac (Alexander) and Fettes (Justin Hosking) eke out a living as undervalued, underpaid orderlies. When a Jane Doe rolls into their orbit, seemingly a fresh candidate for organ harvesting, the duo sees an opportunity to cash in on their grim surroundings. But when the corpse proves not to be as dead as expected, their plan mutates into a moral and logistical quagmire — a farcical spiral of bad decisions, shifting allegiances, and grim comedy.

What distinguishes Snatchers is not just its premise, but its tonal balancing act. The film operates as a modern Australian take on the Burke and Hare mythos, where grave-robbing becomes a working-class hustle. Yet, instead of solemn Gothic horror, Alexander and Higgs infuse the narrative with a distinctly local irreverence. The humour is dry, the banter unpolished, and the absurdity of the situation constantly undercut by the casual bluntness of its characters. Where a British version might lean into macabre wit, Snatchers feels bracingly Antipodean — equal parts cheeky, grim, and self-deprecating.

Hannah McKenzie, as the not-so-dead Jane Doe, injects a lively volatility into the proceedings, a reminder that the “corpse” has agency of her own and won’t be easily reduced to commodity. The film finds much of its energy in this disruption, forcing Mac and Fettes to navigate not only their friendship but the moral sinkholes of their scheme. The twists come quickly, some predictable, others slyly surprising, but always tethered to the film’s central question: how far will ordinary people bend ethics when the system leaves them with so little to lose?

Though undeniably modest in scale and budget, Snatchers makes a virtue of its scrappy production. Its humour doesn’t always land cleanly, and its narrative leans into familiar beats, but the sheer audacity of its premise — and the willingness to entwine Stevenson’s gothic lineage with Australian socio-economic bite — keeps it engaging. As a festival entry, it embodies the SUFF spirit: resourceful, transgressive, and proudly unpolished, a film that finds life in the margins where mainstream cinema rarely dares to tread.

The Prognosis:

At 80 minutes, Snatchers doesn’t overstay its welcome. Instead, it lingers in the uneasy laughter it provokes — laughter that’s always one step away from horror, one step away from despair.

  • Saul Muerte

SUFF – Snatchers
Unrated 15+
Starts Thursday, September 11, 2025 · Comedy · 1 hr 20 min

Between Dream and Delirium: Julie Pacino’s I Live Here Now Blurs Reality into Madness

30 Saturday Aug 2025

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Julie Pacino’s debut feature announces itself less as a narrative than as a hypnotic state of being. With I Live Here Now, she crafts a film that drifts between dream, paranoia, and fractured identity, where each scene feels like a step deeper into a psychological labyrinth. It is a strikingly assured first feature, one that refuses to provide a map, demanding instead that its audience surrender to its vertiginous rhythms.

Lucy Fry, in a career-defining performance, embodies Rose, a young actress who retreats to a remote hotel in Idyllwild, California, in search of respite from her unraveling life. But the more she seeks refuge, the more porous the walls of her reality become. Time loops back on itself, doubles materialise, and memory seeps into performance until the categories lose meaning altogether. Fry is magnetic precisely because she grounds this hallucinatory descent in something tangible: the unease of someone who no longer trusts her own perceptions.

Pacino wears her influences with confidence. Sheryl Lee’s presence inevitably conjures the spectre of Twin Peaks, and David Lynch’s fingerprints are felt in the film’s elastic time, uncanny repetitions, and ominous hum that seems to vibrate through the very air. Yet Pacino’s aesthetic is not mere homage. Her saturated colour palette recalls Argento’s lush operatics, while the film’s elliptical logic suggests Buñuel’s surreal provocations. Layered on top is a contemporary awareness of performance itself — how identity, memory, and desire are all rehearsed roles, prone to fracture under pressure.

Shot on 35mm, the film achieves a tactile, dreamlike fragility. Every frame looks like a half-remembered photograph, poised on the edge of fading. The supporting cast — Madeline Brewer, Cara Seymour, Sheryl Lee, and a gleefully slippery Matt Rife — all slot into the hallucinatory mood, each embodying figures that may be confidantes, doubles, or projections of Rose’s disintegrating psyche. The film offers no clear answers; its power lies in its refusal to resolve whether we are witnessing dream, reality, or a fragmented plurality of selves.

If Tokyo Evil Hotel was SUFF’s splatter assault on the senses, then I Live Here Now is its slow, intoxicating hypnosis. It burrows into the subconscious and gnaws away at the seams of certainty, drawing the viewer into a space where dread and desire cohabit uneasily. As Rose descends, so do we — through layers of paranoia and fractured selfhood, into the uncanny realisation that the mind itself is the ultimate haunted house.

The Prognosis:

I Live Here Now is not a film to be solved. It is a film to be inhabited, to be surrendered to. And in that surrender, Julie Pacino has crafted a debut that is both daringly elusive and deeply resonant — a Lynchian dream refracted through her own distinct lens.

  • Saul Muerte

SUFF – I Live Here Now
Unrated 15+
Starts Thursday, September 11, 2025 · Drama · 1 hr 36 min

Spinning Into Madness: Pater Noster and the Mission of Light Turns Vinyl into a Psychedelic Curse

29 Friday Aug 2025

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Christopher Bickel is not a filmmaker interested in polish. He is interested in sweat, noise, and the intoxicating dirt that clings to the celluloid ghosts of exploitation cinema. With Pater Noster and the Mission of Light, his latest DIY descent into the grindhouse abyss, Bickel channels the cracked spirit of 1970s cult horror while infusing it with a distinctly contemporary awareness of obsession — musical, spiritual, and cinematic.

The hook is irresistible: Max, a record store clerk chasing the thrill of rare vinyl, stumbles upon an LP from a long-forgotten commune band called Mission of Light. What begins as crate-digging curiosity spirals into something altogether darker, as Max and her friends trace the record’s origins to a secluded cult whose rituals are soaked in both blood and distortion. Before long, the chiming folk harmonies become incantations, the needle-drop becomes a curse, and the grooves themselves seem to open onto a world of psychedelic terror.

Bickel, whose underground reputation was forged on unapologetically abrasive, micro-budget projects, makes no effort to hide the seams. In fact, the seams are the point: a stitched-together tapestry of lurid colour, stroboscopic editing, and gory practical effects that recall the handmade ferocity of vintage splatter cinema. The budget is meager, but the imagination is unruly. When the film tilts fully into ritual bloodletting and cosmic chaos, it achieves the kind of unhinged sensory overload that expensive horror often can’t touch.

What’s most surprising, though, is the music. The filmmakers wrote and recorded a full album in the guise of Mission of Light, and its jangling, upbeat folk tunes — deceptively sunny, unnervingly catchy — weave through the film like a viral infection. Their recurrence creates a peculiar dissonance: the music seems to gnaw at the edges of the viewer’s mind, becoming both a nostalgic echo of 1970s counterculture and a sinister tool of indoctrination. By the time the cult’s rituals are in full swing, the songs are inseparable from the horror, leaving the audience haunted by melodies as much as imagery.

For all its disjointedness — the pacing takes time to find its grip, and some performances verge on pastiche — the film exerts a strange cumulative power. It sneaks up on you, wearing you down with repetition and atmosphere until its final stretches feel like an outright possession. It is less a film you watch than one you are slowly, insidiously absorbed into.

The Prognosis:

Pater Noster and the Mission of Light is not for everyone. Its rough edges are sharp, its indulgence in retro exploitation tropes unapologetic. But within SUFF’s lineup, it is precisely the kind of discovery audiences come to this festival for: a work made with passion, sweat, and delirious creativity, chewing through its limitations to deliver something singular. Bickel has crafted a nightmare that’s equal parts grindhouse revival, cult exposé, and vinyl collector’s hallucination — a low-budget hymn that worms its way into your soul, humming as it feeds.

  • Saul Muerte

SUFF – Pater Noster and the Mission of Light
Unrated 18+
Starts Thursday, September 11, 2025 · Horror · 1 hr 37 min

Neon-Bathed Terror: Nishimura’s Tokyo Evil Hotel Haunts and Horrifies

29 Friday Aug 2025

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SUFF 2025 – Where Cult Cinema, Transgression, and Innovation Collide

In the annals of Japanese horror cinema, Yoshihiro Nishimura occupies a singular, slippery niche — one forged in latex, arterial spray, and an irreverent carnival of grotesquery. From Tokyo Gore Police to Helldriver, his films have thrived on excess, turning the body into a site of anarchic spectacle. With Tokyo Evil Hotel, Nishimura returns to his splatter roots but cloaks the viscera in something more spectral, an unnerving meditation on urban legends and the hidden machinery of Japan’s entertainment underworld.

The premise sounds almost folkloric: a cursed hotel, five suicides in a year, a ghostly figure in a wheelchair propelled by betrayal and heartbreak. But Nishimura, ever the provocateur, is less interested in quiet ghost story chills than in conjuring a fever dream. The film drags the viewer down its neon-lit corridors, where reality and nightmare blur into one another. Images arrive in waves — some baroque in their grotesquerie, others achingly poetic — before dissolving into the next eruption of slime, latex, or digital delirium.

What anchors this onslaught is not narrative cohesion (which Nishimura deliberately unravels) but mood, texture, and metaphor. The hotel itself becomes a nexus of exploitation, its walls absorbing the residue of despair from a culture that glamorises seduction while feeding on vulnerability. Nishimura weaponises the tropes of J-horror — the wrathful woman, the haunted threshold, the cyclical nature of trauma — and splices them into his splatter lineage. If Ring and Ju-On explored the horror of technological contamination, Tokyo Evil Hotel maps the horror of commodified intimacy, where every smile has a price and every fantasy its corroded underbelly.

The cast — Masanori Mimoto and Natsumi Tadano among them — give just enough grounding to keep the delirium tethered to human suffering, though their characters often feel like archetypal vessels swept along by the director’s vision. The real star, as always with Nishimura, is the texture: prosthetic ingenuity, practical gore, and uncanny tableaux that feel equal parts Kabuki and Cronenberg.

Yet the film is not without fracture. The disjointedness — the lurch from social critique to grotesque comedy to lyrical melancholy — sometimes undermines the impact. For some, this instability will feel frustrating; for others, it is precisely Nishimura’s method, a refusal to let the viewer rest. In the context of the Sydney Underground Film Festival, however, Tokyo Evil Hotel feels entirely at home. SUFF thrives on works that assault the senses, destabilise the familiar, and revel in the unruly. Nishimura’s latest is all of that: a cacophony of horror tropes remixed, a lurid nightmare of betrayal and exploitation, and a work that refuses to be neatly filed under ghost story or gorefest.

The Prognosis:

Tokyo Evil Hotel is less about narrative payoff than about immersion — in slime, in sorrow, in spectacle. It is a haunted funhouse mirror of Japan’s social anxieties, one that cackles, weeps, and bleeds in equal measure. Disjointed but unforgettable, it reminds us why Nishimura remains a cult legend: because no one else so gleefully drags horror into the gutter, then refracts it through neon into something unnervingly beautiful.

  • Saul Muerte

SUFF – Tokyo Evil Hotel
Starts Thursday, September 11, 2025 · Horror · 1 hr 30 min

We Are Zombies (2024) – A Nostalgic Nod to 90s Horror-Comedy

12 Thursday Sep 2024

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We Are Zombies, the latest offering from RKSS (the team behind Turbo Kid and Summer of 84), attempts to inject a new burst of energy into the well-worn zombie genre. Set in a world where the undead, or “living-impaired,” coexist with humans, the film follows three slackers—Karl, Maggie, and Freddy—as they cook up a scheme to profit from selling off zombies to a shady corporation. However, their plan takes a turn for the worse when their grandmother is kidnapped, launching them into a frantic rescue mission.

Blending irreverent humour with over-the-top gore, We Are Zombies harkens back to the quirky horror-comedies of the 90s. Its tone, humour, and overall vibe recall classics like Army of Darkness and Dead Alive, where the absurdity of the premise is embraced with gleeful abandon. Karl, Maggie, and Freddy are likeable slackers, reminiscent of the kind of lovable goofs you’d expect to find in a Kevin Smith or early Robert Rodriguez film. This throwback appeal is one of the film’s strongest elements, and RKSS clearly revels in balancing old-school horror tropes with a playful, modern twist.

However, despite its charm and humour, the film doesn’t fully break new ground. While the dynamic trio makes for fun protagonists, the story occasionally feels thin, relying heavily on gore and slapstick rather than delivering more depth or innovation to the zombie genre. The plot’s predictable turns and the comedy’s reliance on familiar beats may make We Are Zombies feel more like an homage than a truly fresh entry.

That being said, it’s clear that RKSS had a blast creating this gory, comedic world, and for fans of horror-comedy, it’s an entertaining ride. The practical effects are top-notch, and the splattery, often grotesque visuals add a layer of fun for those who enjoy a more old-school, hands-on approach to horror makeup.

The Prognosis:

We Are Zombies may not reinvent the wheel, but it’s a solid, fun throwback to the 90s horror-comedy era with a modern edge. If you’re a fan of quirky, likeable characters getting in over their heads amid a blood-soaked zombie outbreak, this film is worth a watch—even if it doesn’t completely shamble into classic territory.

  • Saul Muerte

Catch the screening of We Are Zombies at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 9:45 PM

Saint Clare (2024) – Promising Cast, Unbalanced Execution

09 Monday Sep 2024

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Saint Clare, directed by Mitzi Peirone, comes with a premise that immediately piqued my interest—blending psychological tension with the religious undertones of its titular character, Clare Beeker. While the film boasts a notable cast, including Bella Thorne in the lead role, along with the familiar faces of Ryan Phillippe and Rebecca De Mornay, it ultimately struggles to find its footing, leaving much of its potential untapped.

Let’s start with Bella Thorne. I’ll admit, she’s not an actor I typically connect with on screen, as her performances often come across as lacking emotional depth. However, in Saint Clare, she does a decent job portraying the enigmatic and haunted Clare Beeker. There’s a fragility to her portrayal that occasionally breaks through, and I found myself more engaged with her performance than I expected to be. That said, there are still moments where her character feels distant and underdeveloped, which keeps the audience from fully investing in Clare’s internal turmoil. It’s as though she’s on the cusp of something more profound but never quite reaches it.

The film also brings back Ryan Phillippe and Rebecca De Mornay, which is a pleasant surprise for anyone who’s missed seeing these two on screen. Phillippe plays his role competently, though there’s not much for him to work with. De Mornay, meanwhile, brings her usual grace and presence, but like Phillippe, her character is underutilized, leaving me wanting more from both actors. Their presence feels more like a nostalgic nod than an essential component of the story.

The true standout, however, is Frank Whaley. Despite being criminally underused, Whaley steals every scene he’s in, offering a refreshing balance between reality and fantasy. His performance adds a much-needed layer of complexity to a film that often teeters on the edge of surrealism but never fully commits. Whaley’s ability to walk the fine line between grounded reality and unsettling fantasy suggests that Saint Clare could have leaned further into its psychological aspects, using his character as a bridge between the two worlds.

Unfortunately, the film’s execution is where things start to falter. While there are moments that hint at something deeper—particularly with its exploration of Clare’s fractured psyche and the eerie atmosphere surrounding her—the pacing is uneven, and the script lacks focus. What could have been an intense exploration of faith, guilt, and redemption gets bogged down by disjointed storytelling and underwhelming tension. The film never fully grips you in the way it intends to, leaving key plot points feeling unresolved or poorly developed.

Visually, Saint Clare has its moments. There are a few arresting images that play with the boundaries between reality and Clare’s inner world, but the cinematography often feels at odds with the tone. Rather than fully embracing the psychological horror or surrealism that the narrative teases, it settles into a more straightforward drama, which doesn’t quite mesh with the potential lurking beneath the surface.

The Prognosis:

Saint Clare feels like a missed opportunity. It boasts a capable cast and an interesting premise, but the uneven execution keeps it from being more than a brief curiosity. While Bella Thorne delivers a better performance than usual, and Frank Whaley shines in his limited screen time, the film fails to maintain momentum or dive deep into its more intriguing themes. It’s worth a watch for the cast alone, but Saint Clare ultimately struggles to rise above mediocrity, leaving me wanting more from what could have been a much darker, more compelling tale.

  • Saul Muerte

Catch the screening of Saint Clare at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 7PM

SATURDAY 14TH SEPTEMBER – 8PM

SUFF 2024 – Movie Review: The Organist (2024)

21 Wednesday Aug 2024

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If ever there was a reason to get behind homegrown cinema then it’s got to be in support of Andy Burkitt’s feature directorial debut, The Organist; this darkly, hilarious take on the underground organ donor industry. At the heart of this surrealist and macabre view is Jack Braddy’s delectable take of down and nearly out grifter and gift of the gab, Greame Sloane. It’s precisely Sloane’s natural persuasive abilities that landed his job as the face and mouthpiece of a organ-procurement organisation. His charm and subtle appeal is all on show from the get-go as he successfully secures a donation from an unwitting suburbanite. From this swift introduction though, the curtain drops and reveals a far sinister movement behind the veil, one that has been building on the trust of such donors to feed a collective of highly financial cannibals. Now Sloane must fight tooth and nail to fight every ounce and fibre of his being that detests the notion of feeding these elite human bloodhounds, battling in a corner that has no way out, but keep on talking. Has Sloane bitten off more than he can chew though?

To watch The Organist, there needs to be some suspension of disbelief as each scenario presented reads as ridiculous as the next, but this in effect is also its charm. It resonates with the Aussie battler appeal with Sloane continuously digging further and further into a pit of despair, and hopelessness. Whether it’s trying to engage with with the hilariously sinister HR rep Tracey (Lena Moon); building up the hopes of a donor recipient’s father, Bruce (Garth Edwards); trying to dissect the mind of the psychopathic cannibal; or fuse or diffuse his connection with would be buddy-yet-potential multiple donor, the suicidal Riley (Luke Fisher). This bromance shared between Sloane and Riley is in part symbiotic, relying on each other’s strengths and seemingly shared beliefs to pull them through to the bitter end. And in doing so, drives the viewers engagement with the feature, willing for hope to shine through this heartachingly bitter string of scenarios.

Burkitt relies on your faith to stick to his vision. In doing so, you are rewarded with a harrowingly, dark and hilariously bleak tale of humanity that may take every part of your body to see it through to the end.

  • Saul Muerte

Catch the screening of The Organist at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

SATURDAY 14TH SEPTEMBER – 7.30PM

SUNDAY 15TH SEPTEMBER – 1PM

SUFF 2024 – Movie Review: Mother Father Sister Brother Frank

15 Thursday Aug 2024

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With the program release dropping this week for the much-anticipated 18th Annual Sydney Underground Film Festival, it was a great pleasure to sit down and watch one of the feature lineups, Mother, Father, Sister, Brother, Frank (MFSBF). The joy is not only in realizing that one of my favorite festivals, dedicated to the twisted and macabre, is back, but in how MFSBF epitomizes the style and substance that makes the festival so great. The film delivers a unique blend of the darker side of cinema, whether it’s full-throttle gore or outlandishly dark humor. MFSBF firmly falls into the latter category, offering a humorous tale of a family caught in a night of murder and mishap.

Set in what appears to be a typical suburban household, the Jennings family prepares to sit down for a Sunday dinner. But beneath the surface of Dad’s drinking, Jim’s phone habits, and Jolene’s dietary concerns, lies a web of secrets that no amount of sugar-coating from Mum can keep buried—especially when Uncle Frank arrives and threatens to expose everything. It doesn’t take long for thoughts to turn to murder, but the question remains: just how capable are the Jennings in carrying out their dark deeds and keeping their secrets hidden for good?

Tonally, director Caden Douglas masterfully places the humor just right, slowly dialing up the angst while delivering a series of painfully hilarious sequences that highlight how inept the family is. Each bungled attempt at solving their problems leads them further into potential ruin, as they metaphorically and literally dig their own graves. The film deftly explores whether the Jennings can bond together and claw their way out of the chaos they’ve created.

Special mention must be made of standout performances by Enrico Colantoni (Galaxy Quest) and Mindy Cohn (The Facts of Life), who delicately portray the father and mother roles with painful poise and bumbling brilliance. Their chemistry anchors the film, providing both comedic and emotional depth.

  • Saul Muerte

Catch the screening of Mother, Father, Sister, Brother, Frank at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 9.30PM

SUNDAY 15TH SEPTEMBER – 3.30PM

Movie review: Poundcake (2023)

07 Thursday Sep 2023

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Having been a loyal supporter of the Sydney Underground Film Festival for the past six years, I’m certainly no stranger to the diverse and eclectic choices that make up the film list year on year. The organisers proudly wear the latest weird and wonderful of the celluloid vein as part of its staple line up and Poundcake by Director Onur Tukel is no exception. Tukel is no stranger in taking on controversial conversations which centre  on the subject of relationships or gender, and with Poundcake he picks up the tendentious topics and rams it into the ground, pulverising it into a pulp. For those unaccustomed to the director’s visual and political stance, it’s fair to say that Tukel doesn’t shy away from areas that are too uncomfortable for some, and deliberately pushes those buttons in order to not only get a response but to also create discussion.

In his latest venture, Tukel directs and performs in a tale which is billed as a serial killer in New York City who is going around killing straight white men and no one blinks an eye. On face value, this is filled with intrigue, and it’s premise hooked me in along with the gimp mask wearing, beefy-looking serial killer, but these moments are fleeting, and somewhat shocking as his chosen method of killing is by raping his victims. The majority of the time, the film is told by a group of podcasters and members of the community who all share their polarising views. This dampens the moments of horror and instead squashes and distances the viewer with the bombardment of messages.

The Prognosis:

SUFF will hang their hat on the weird and wonderful moments in film, and with this Poundcake fits the bill. Horror lovers may find themselves wanting however, as this film is a socially political narrative from a director who will challenge some with his views. Personally, I found them a little jarring, but maybe you have a different spin on things and feel that he is deliberately provoking commentary.

Why not judge for yourself and post your thoughts here.

  • Saul Muerte

Poundcake will be screening at the Sydney Underground Film Festival, Friday 8th September at 6pm. 

Movie Review: Onyx the Fortuitous and the Talisman of Souls (2023)

05 Tuesday Sep 2023

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Since the early 2000’s Director/Actor Andrew Bowser has been honing his craft with a unique blend of comedy and fantasy. It’s fair to say that in recent years, his greatest creation thus far is Marcus J. Trillbury aka Onyx the Fortuitous, a comic book enthusiast, video game player, and quirky nerd, and features in a number of youtube clips that have gone viral. It’s little wonder then, that Bowser would invest in bringing his fabrication to a feature length scale in Onyx the Fortuitous and the Talisman of Souls. 

Onyx is struggling in life, both at home and at work, drifting aimlessly with his heart on becoming a successful occultist, when he gets a call to the mansion of his idol Bartok the Great with an invitation to raise the spirit of an ancient demon. 

Like a warped wonka-esque tale in which the golden ticket promises a wondrous experience, Onyx along with four other devotees have been carefully selected to take part in the ritual. Each taking on a specific role that may condemn their souls for all eternity. Is Onyx destined to fall once more and succumb to the greater evil or has destiny something else in store?

The Prognosis:

Bowser has no option but to go all in to enhance his alter-ego Onyx the Fortuitous on the big screen. There are some that may not warm to his persona but his eccentricity but others will find it warming and infectious. Beneath the comical, fantastical exterior is a smart and enduring narrative with a steady rhythm pulsating to a satisfying climax. 

Bowser also brings in the strength of a solid supporting cast to add weight to the proceedings, namely Olivia Taylor Dudley (The Magicians), and the reuniting of Jeffrey Combs and Barbara Crampton (Re-Animator). Where he stretches the believability with his vision, it taps into an unearthly charm and resonates with an insatiable charisma. May Onyx the Fortuitous find more tales of the occult to lure you into his zen.

  • Saul Muerte

Onyx the Fortuitous and the Talisman of Souls will be screening as the Closing Film for Sydney Underground Film Festival on Sunday, September 10, 2023.