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Dawn Keetley

Posted on October 20, 2026

Brooklyn Horror Film Festival Review: Russell Goldman’s Sender

Dawn Keetley

I watched Sender as part of the Brooklyn Horror Film Festival, where it had its New York City premiere on October 19, 2026. Director Russell Goldman was present for a Q&A after the film.

Sender is a film that’s all about the actors, although that doesn’t seem entirely fair to all those who worked on the cinematography, the costumes, the sounds and, of course the writing and directing. All those are indeed excellent, but Sender showcases a tour de force performance by Britt Lower as the lead character.

From the moment we first see her, Britt Lower’s Julia seems to be on a knife-edge – hunched over, too thin, intense, wired, restless. She’s moving into a new apartment, has just lost her job, and is sort of looking for what’s next – a job, an MFA? She’s also in recovery, and her alcoholism was clearly the reason she lost said job (although it doesn’t seem like it was much of a loss). Indeed, the seeming deadness of Julia’s job may go some way to explain her excessive drinking. She always, as one co-worker put it, threw the best parties. What else was there to do?

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Posted on October 18, 2026

Brooklyn Horror Film Festival Review: Jordan Downey’s The Cycle

Dawn Keetley

I watched The Cycle as part of the Brooklyn Horror Film Festival, where it had its east coast premiere on October 16, 2026.

Directed by Jordan Downey, and written by Downey and Kevin Stewart, The Cycle (2026) is a distinctive blend of forensic crime / police procedural and supernatural horror. (The Autopsy of Jane Doe, released in 2016 and directed by André Øvredal comes to mind as a similar kind of endeavor.) It’s filmed in Astoria, Oregon, and it has the grey landscapes, the rain and the mist, that evoke Nordic Noir, heightening its links to crime narrative.

The Cycle centers on Meg Garland (Deborah Ann Woll), a forensic anthropologist who studies bodies in all stages of decomposition: she listens to the dead, reconstructing their lives from their dead bodies. In a sense, The Cycle is all about understanding dead bodies, although, for Meg, while the bodies she studies may be dead, they are fully animate – teeming with life – in the way they speak to her.

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Posted on October 11, 2026

Casey Walker’s Ithaqua – Historically-grounded Wendigo Horror

Dawn Keetley

Ithaqua has been a long-term passion project for its Canadian director and writer, Casey Walker. In interviews, he has described his struggle to see his conception to the screen, including securing the funding – something that finally came from John Gore, who (as of 2023) has acquired Hammer Films. In the meantime, Walker has directed two other features – A Little Bit Zombie (2012) and Home Bodies (2026) and has produced a number of films, including Chris Nash’s 2024 break-out hit, In A Violent Nature (which we loved).

Ithaqua is set in winter in 1821 at a fur-trading post, Fort Thomas, in the Canadian wilderness. The place is inspired, Walker says, by Fort William Historical Park, a living-history museum in his home town of Thunder Bay, Ontario. Indeed, Ithaqua was filmed at Fort William, at its reconstruction of an early nineteenth-century fur trading post. It was also filmed in an unusually cold winter, and Walker has recounted the enormous challenge of filming in temperatures of minus 34 degrees Celsius to minus 55 (including a scene in which a man strips off his clothes).

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Posted on October 8, 2026

Agatha Christie Reconsidered Podcast: Endless Night

Dawn Keetley/ Elizabeth Erwin/ Podcast

In our second episode, we take up one of Christie’s stand-alone novels, Endless Night (1967), and its literary and cinematic roots and tentacles. Endless Night is a compelling story – the story of a working-class English man (Mike Rogers) who marries a rich American heiress (Ellie Guteman). The story is told from Mike’s perspective – and you’d be forgiven for believing he loves his new (and rich) wife. However, once Mike has had his beautiful house built on a patch of land (Gypsy’s Acre), Ellie dies, thrown from her horse, and the novel becomes an unraveling of exactly how she died. As a fascinating example of story evolution, Endless Night’s origins and adaptations give insight into Christie’s creative process, with each iteration worthy of consideration. It’s a story that clearly fascinated Christie, as she wrote versions of it across fifty years.  

We’ve mapped out the story evolution as we discuss it below. As always, please note that this episode will include spoilers.

Short Stories:

  • Philomel Cottage (1924)
  • The Case of the Caretaker (1941)

Full Novel:

  • Endless Night (1967)

Cinematic Adaptations:

  • Love from a Stranger (1937) – film based on  the 1936 stage adaptation of “Philomel Cottage”
  • Love from a Stranger (1947) – film based on  the 1936 stage adaptation of “Philomel Cottage”
  • Endless Night (1972) – film based on 1967 novel
  • “Endless Night”- Agatha Christie’s Marple (2013) – TV series episode

If this sparks your interest, check out our deeper dive into the 1972 film adaptation – Endless Night for horror fans!

 

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Works Cited:

Aldridge, Mark. Agatha Christie on Screen. Palgrave Macmillan UK, 2016, pp. 329-220.

Ascari, Maurizio. “Poetry into Fiction, Fiction into Poetry: Intertextual Connections in Agatha Christie’s Endless Night.” Crime Fiction Studies, vol. 7, no. 1, 2026, pp. 1-15.

Christie, Agatha. Endless Night. Collins Crime Club, 1967.

Christie, Agatha. “Philomel Cottage.” The Listerdale Mystery, William Collins and Sons, 1934, pp. 27-51.

Christie, Agatha. “The Case of the Caretaker.” Three Blind Mice and Other Stories, Dell Publishing Company, 1948, pp. 129-144.

Endless Night. Directed by Sidney Gilliat, performances by Hayley Mills and Hywel Bennett, British Lion Films, 1972.

“Endless Night.” Agatha Christie’s Marple, season 6, episode 3, ITV, 29 Dec. 2013

Jordison, Sam. “Endless Night: Agatha Christie’s favourite still has shock factor.” The Guardian, 13 Nov. 2018.

Love from a Stranger. Directed by Rowland V. Lee, performances by Ann Harding and Basil Rathbone, Trafalgar Films, 1937.

Love from a Stranger. Directed by Richard Whorf, performances by John Hodiak and Sylvia Sidney, Bryan Foy Productions / Eagle-Lion Films, 1947.

Posted on September 28, 2026

Loner review – excellent found-footage folk horror

Dawn Keetley

Written by Charlie Robb and co-directed by Robb and Douglas Tawn, the 2025 Loner is a found-footage folk horror film about a man called Angus (played by Robb) who heads out into the Northumbrian woods to vlog about “living off the land” – totally cut off from the modern world (no wi-fi, for instance). It should be noted, though, that the cabin he’s renting, advertised as an “Anonymous Retreat,” has plenty of mod cons, and he’s not exactly roughing it. That’s probably a good thing, as Angus’s efforts to film himself “living off the land” turn out to be rather comically incompetent, such as when he attempts to instruct his viewers on how to build a wilderness shelter (which isn’t a shelter) and in which he then gets hopelessly trapped.

Nature isn’t the worst of Angus’s problems, however, as he encounters increasingly strange and disturbing things. On his way into the woods, he runs across what seems to be a buried Celtic marker and a strange white rock. But then later, while he’s recording ambient forest sound, he hears a grunting and someone sobbing and whimpering. That night, a woman whom he had passed in the forest on his trek in bangs on the door of his cabin begging to be let in, screaming that she’s in danger. Angus won’t let her in – too terrified to help her, even though the woman – Eve (Kat Johns-Burke) – does not seem at all threatening. This isn’t a choice you usually see characters make in films, but Angus’s character has been developed enough at this point in the film that the choice seems believable, true to him.

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