Montreal Premiere
Underground

Carnage for Christmas

Directed by Alice Maio Mackay

Credits  

Official selection

Salem Horror Fest 2024

Director

Alice Maio Mackay

Producer

Alice Maio Mackay

Writer

Alice Maio Mackay, Ben Pahl Robinson

Cast

Zairf ., Dominique Booth, Olivia Deeble, Jeremy Moineau, Tumelo Nthupi

Composer

Alexander Taylor

Editor

Vera Drew

contact

One Manner Productions

Australia 2024 70 mins OV English
Genre DramaHorrorLGBTQIA2S+

Horror cinema’s favourite (and most prolific) ingenue, Alice Maio Mackay, returns to Montreal this summer, with her sixth film, CARNAGE FOR CHRISTMAS. The 19-year-old filmmaker from Australia has already made waves at Fantasia and beyond with her crowd-pleasing, crowdfunded projects (all her work exists somewhere between no budget and micro-budget). T BLOCKERS was an instant fan favourite and an all-time raucous screening when it played at the 2023 edition of the festival. With CARNAGE FOR CHRISTMAS, Mackay trades in purple goop and alien parasites for mistletoe and Santa Claus, in this naughty holiday adventure. When true-crime podcaster and sleuth Lola visits her hometown at Christmas for the first time since running away and transitioning, the vengeful ghost of a historical murderer and urban legend seemingly arises to kill again. Lola must solve the case before her community is slaughtered. She’s up against not only a psychotic killer, but a town haunted by secrets.

CARNAGE FOR CHRISTMAS is not just an ode to Holiday horror classics like SILENT NIGHT, DEADLY NIGHT and RARE EXPORTS: A CHRISTMAS TALE, but a tribute to the rising stars of underground cinema. With guest spots by Betsey Brown (ALL JACKED UP AND FULL OF WORMS) and Zelda Adams (HELLBENDER), as well as Vera Drew (THE PEOPLE’S JOKER) working as an editor, Mackay cements herself as the People’s Princess of a growing movement of dirty, irreverent and transgressive underground cinema. Alice Maio Mackay is part of a growing movement of young trans filmmakers re-imagining genre cinema with fresh eyes, twisting expected tropes into something personal, inventive and boundary-pushing. Less may be more but there’s no accusing Mackay of not embracing maximalism in an otherwise short-running time, with a movie that overflows with wild expressionistic editing, animated sequences, drag queens, psychedelic imagery and slippery one-liners. – Justine Smith