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  • Demons at Berlinale Forum

    Cast and crew of Demons will be at the screenings for QnA.

    Trailer

    A horror film with a point. Happily, this satirical horror film is keenly funny when it isn’t being scary. Shot in English and Mandarin and spiked with offbeat humor that sweetens its dark thoughts, the Berlinale Forum title is quite the trip for those who get into it. Although a hallucinatory journey into the psychic well is not for everyone, those willing to dip into experimental cinema will probably hang on to the dazzling, mythical ending…. Hui, who has made a name for himself on the festival circuit for his innovative films with a strong social and political bent, has an idiosyncratic approach to storytelling verging on experimental kitsch.” 

    – Deborah Young, The Hollywood Reporter

    “Demons is a spectacularly unsettling accumulation of diverse and fragmented images, techniques, sounds and themes. It clearly has a point to make about the environment that produced it, as well as the men who continue to overpower this landscape. It need not be understood entirely, and that is also part of its beauty. It is dark, grotesque and simply absurd, with a wonderfully wicked sense of humour.”

    – Fenja Akinde-Hummel, The Upcoming

    “Daniel Hui builds a film pervaded by an archaic sense of restlessness, primordial as the tribal statuette in the house of the protagonist, from a Lynchian anguish.” 8/10

    – Giampiero Raganelli, Quinlan

    “Stories-within-stories-within-stories also form the weird fabric of Daniel Hui’s Demons, a hallucinatory, near-Lynchian evocation of contemporary Singaporean psychosis that centers on power dynamics in a theater troupe.”

    – Travis Jeppesen, Artforum

    “[U]nmissable…a work of a dedicated cinephile, visually and narratively outstanding…The film is sure to stay with the audience long after”

    – Maja Korbecka, easternKicks

    “Even harder and more virtuoso, Daniel Hui from Singapore jumbled up the genres. Demons begins as a painful #MeToo drama in the theatre milieu, slowly transforming into a history of revenge, combining the driest satire with ghost scare and B-movie splatter. A young actress gets a role with a renowned director. Even his cutting comments in the casting show: The collaboration is torture. Sexual oppression and attacks are becoming increasingly obvious. At the same time, the film becomes more and more tangled – and draws from it a power that goes beyond the alleged simplicity of history. Hui interweaves the elements even more complex and enigmatic than Jennifer Reeder (Knives and Skin Film). He cuts faster and more confusing between the levels and times back and forth – and can very skillfully create a suction, which leads to a bloody, metaphysical finale. The imagery has only a naturalistic appearance at first – the further the film progresses, the more artificial it looks.”

    – Fabian Wallmeier, rbb24

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