12 Films of Black Xmas 2025
A shorter challenge for December 2025. I almost didn’t do anything this year, but twelve themed films over the month seems doable and might be the sweet spot.
- Velvet Buzzsaw (2019) dir. Dan Gilroy
- Death Walks at Midnight (1972) dir. Luciano Ercoli
- Anaconda (2025) dir. Tom Gormican
- Mermaid Legend (1984) dir. Toshiharu Ikeda
- Reflection in a Dead Diamond (2025) dir. Bruno Forzani, Hélène Cattet
- Warning Sign (1985) dir. Hal Barwood
- The Shrouds (2024) dir. David Cronenberg
- Cloud (2024) dir. Kiyoshi Kurosawa
- Demons (1985) dir. Lamberto Bava
December 30 2025, 11:03
Director: Dan Gilroy
Release year: 2019
Ambitious art gallery receptionist Josephina has her hoped-for promotion taken away by hard-nosed gallery owner Rhodora Haze. One evening, she discovers the dead body of an artist living in the apartment above her, along with rooms full of brilliant paintings, which she learns the man wanted destroyed. She asks her ex-boyfriend, influential art critic Morf Vandewalt, to confirm her assessment of its quality, and this sets off a battle in the Los Angeles art world over who will profit from the dead artist’s legacy. But the paintings are cursed, and those who profit from them begin to die in gruesome art-related ways.
This is a story of greedy art world snobs getting their comeuppance. Abused as a child, disturbed artist Vetril Dease used his own blood in his paintings, and this seems to be part of the supernatural curse he’s put on them. His art poured out of him onto canvases, cardboard, scraps of paper, anything to hand, and analysis shows there is no discernible pattern to his technique, and no sketches to show ideas being developed. He is a true outsider artist making art to process trauma.
Josephina, played by a wonderful Zawe Ashton, is terrified of being stuck as a receptionist and desperate to rise through the ranks of the art world. Her ambition sets the story in motion, and at first it’s understandable why she would try and save the art works from destruction. The commercial galleries are soon battling to make as much money as possible from Dease’s work, which other artists recognise as both genius and ‘alive’ in some way.
Artists in the film are represented by the cynical, newly sober (and artist-blocked) Piers, played by John Malkovich, and Damrish, part of a collective representing a younger generation. Both men recognise the power of the work and are stimulated to step away from the allure of money and fame to concentrate on their art. They are spared from the curse. Those who make a living from amplifying the work for profit, including selfish art critic Morf, are killed one-by-one by art pieces.
Dease, in death, has the power to punish the greedy and selfish through all art, not just his own. People die via other artist’s work, graffiti, and even tattoos. Everyone making this film seems to be having fun. It’s so good.
2025’s #12FilmsOfBlackXmas...
December 27 2025, 21:25
Director: Luciano Ercoli
Release year: 1972
On the surface, this had everything I love in a film. It’s a mystery set in a European city, in the world of fashion, nightclubs, parties, with artists as lovers, eccentric minor characters galore, murder with a weirdly brutal weapon... it could be perfect. None of this matters if the pacing is off, the dialogue is dull, and there’s no character development.
Valentina is a freelance model making a living from her looks and good reputation. She decides to take part in a scientific experiment with a new hallucinogenic drug, and whilst high has a vision of a woman being brutally killed by a man wearing a spiked metal glove. The experiment is a tabloid stitch-up, and on publication of the story she loses work because of the drug use, and worse, the killer is real and needs to kill her before she identifies him by name.
I loved Valentina. She’s smart, confident, money-focussed, resourceful and beautiful. The men in her life seem to be symptomatic of the times—sexist, entitled and rude—but she holds her own with them. There’s a running theme of women not being believed and powerful men locking them away. There are plenty of cliché characters. It’s so frustrating. And the final ten minutes becomes an extended fight and chase scene on a rooftop that reminded me strongly of Dario Argento’s The Cat o’ Nine Tails from the year before.
It’s derivative and lazy, but I had fun with Nieves Navarro as Valentina, and I’m a sucker for artist’s studio and gallery scenes. There just isn’t much art or artists in modern thrillers. Italian gialli celebrated art and the artist. It adds a layer to the mysteries that I find charming and stimulating.
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December 26 2025, 21:43
Director: Tom Gormican
Release year: 2025
I was trying to find a film the whole family would enjoy at the cinema on Boxing Day, and when I saw Anaconda, certificate 12A, with Jack Black and Paul Rudd, I thought I’d hit the family jackpot—but neither child wanted to come, so the jackpot was all mine.
Failing actor Griff turns up at his oldest friend Doug’s birthday party with a VHS copy of film they made together as teenagers. Doug is depressed because he sees his dream of making a film slipping away. Reinvigorated by the memory, Griff convinces Doug, along with actress Claire and cameraman Kenny, to travel on the Amazon river to make a new version of the nineties horror film, Anaconda. However, their boat captain Ana is on the run from a group of armed men, and there is a real monster Anaconda roaming the river.
It’s a goofy comedy, and if you know and accept this going in, it’s a great ninety minutes at the movies. There are a couple of scenes that really made me laugh, and I only laugh out loud like that when I’m emotionally invested. Of course I see myself in the Jack Black character, a middle-aged man chasing an unlikely dream while stuck in a 9-to-5 job with a family to support, and perhaps I just needed to be reminded of the joys of making something with friends. The foursome are incredibly likeable, and there is extra comedy in Selton, the snake handler they hire, with an intense emotional investment in his snakes, and some late cameos. Happy Christmas.
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December 21 2025, 18:58
Director: Toshiharu Ikeda
Release year: 1984
On the Japanese coast, a newly married couple bicker on their fishing boat. Migiwa dives for shellfish, and Saeki minds the rope to pull her up. One night, Saeki sees a fellow fisherman killed on the water by a passing speedboat, and when he takes Migiwa to investigate, he is harpooned in the chest. Migiwa survives and goes into hiding, but as she begins to understand what’s going on in the village, she is driven to revenge.
Migiwa can hold her breath for several minutes in her foraging on the sea floor and is like a mermaid. Every day she prays to Buddha for luck and guidance. When Saeki is killed, the police try to pin his death on her, and his oldest friend Kaisuke steps in to help, but the best he can do is try to hide her on an island populated only by women. The details of this world are fascinating. The people living in these villages have simple lives, praying to Buddha and trying to stay out of trouble in the economic aftermath of the Second World War.
Migiwa is a spirited heroine, grieving her husband, wrestling with her limited options, and putting herself in harms way to understand why her husband was killed. When it becomes clear it was to do with a corrupt business deal and a contract for a new nuclear power plant, she asks Buddha for guidance one last time. With seemingly supernatural powers, she goes on a murderous rampage at the nuclear plant’s opening ceremony.
The final twenty minutes are the reason I saw this film on Shudder. It’s a choreographed stabbing spree in a variety of constricted spaces. Nobody can hold her or disarm her as she avenges both Saeki’s death and all the suffering she has been put through. The blood sprays red everywhere. It’s cartoonish in places, and while it is amusing to see her slay the businessmen and Yakuza gangsters, there are disturbing echoes of modern day multiple stabbings in shopping centres and cars driven into busy markets. Revenge is in the eye of the beholder.
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December 19 2025, 16:00
Director: Bruno Forzani, Hélène Cattet
Release year: 2025
Yikes, the plot of this one... John Diman is an old man staying at an expensive hotel on the French Riviera, but he was once a secret agent for a clandestine government organisation. He spent years trying to catch a leather-clad female assassin called Serpentik, but she evaded him to the end. Memories and reality merge as he walks the hotel grounds and wonders if Serpentik has at last come for him.
It’s rare to find a film that is so impressionistic and reliant on associations through cuts, slides and jumps of editing, that you can get almost to the end and still not be sure what exactly is going on. It jumps through time, between characters, between the actors playing characters, and more, in an exhilarating and thoughtful way. It’s a love letter to a sort of film that was everywhere in the sixties, especially in Italy—the cheap euro-spy-thriller cashing in on the popularity of the Bond films.
The camera effects and costumes and dialogue are familiar from other genres I do know, and I can’t think of anyone better to do a film like this than Bruno Forzani and Hélène Cattet’s, who have done a similar job with giallo (Amor) and spaghetti westerns (Let the Corpses Tan).
Serpentik is a fascinating villain (or is she?), with an ever-changing face, an array of feminine weapons (steel nails! hair hooks! poison rings! samurai swords!), and a barely concealed rage that is amusingly counter to Diman’s confused lust and professional outrage that he can’t catch her. And the ending is deliciously ambiguous.
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December 13 2025, 14:42
Director: Hal Barwood
Release year: 1985
At a remote agricultural biochemical facility, a group of scientists are celebrating a discovery, but while taking a photograph a vial is accidentally broken and the whole building is immediately shut down. Government forces arrive to manage the incident, confusing the people of the town who don’t know the facility’s true purpose. Sheriff Cal Morse knows his wife is trapped inside and decides he has to try to get her out.
It moves quickly, and the first half is a particularly intriguing blend of The Andromeda Strain, The Crazies, and more cheesy TV movies of the time. This makes it extremely watchable. The cast is decent, and Yaphet Kotto as Major Connolly is charismatic and brings some edge to things, but towards the end it gets flabby plot-wise and too melodramatic for my taste. I was never bored though.
The story is about the risks governments take without informing the public, in this period specifically genetically modified foods and the biological weapons race in the later stages of the Cold War. I’m always fascinated by how genre films like this got made. First-time (and only-time) director Hal Barwood was a writer-for-hire, and he wrote the script for Warning Signs with long-time writing partner Matthew Robbins as a manageable project for Barwood to try his hand at directing a film himself.
It feels remarkably accomplished, even though it bombed at the box office, because he had Academy Award-winning professionals all around him, including Spartacus editor Robert Lawrence, Dean Cundey as cinematographer, and Henry Bumstead as production designer, who later worked on Cape Fear, Unforgiven and Million Dollar Baby.
I suspect the producer, Jim Bloom, played a major role in how this film came together (he's the second of the three interviews in this three-hour video!).
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December 08 2025, 22:07
Director: David Cronenberg
Release year: 2024
Karsh Relikh part-owns GraveTech, a company that wraps up dead bodies in a material that allows the living to view it in its grave. His wife, Becca, died of cancer, but five years on, through the technology, he notices mysterious growths on her decomposing body. Soon after, the graveyard is seriously damaged, the technology of the graves hacked, and Karsh’s business hangs in the balance.
David Cronenberg wrote this film after the death of his wife, Carolyn, in 2017, but has said there is no catharsis for him in his art. In grief, we suffer, but in The Shrouds there is also plenty of life, humour and sex. Karsh wants to keep his wife’s memory alive by observing her body in the ground as it decomposes. At one point, he tries on one of the shrouds to see what it might feel like for her, and we see him, alone, wrapped in material, looking (and feeling) ridiculous. It’s a fatally flawed enterprise.
To investigate the destruction at the cemetery, Karsh asks his brother-in-law, professional hacker Maury, for help. Maury is paranoid and the ex-husband of Becca’s sister, Terry, who is sexually aroused by conspiracy theories. Karsh is pulled into the strange inner workings of Maury and Terry’s broken marriage, and they send him on a rollercoaster ride of theories involving the Chinese government, Russian spies, Hungarian businessmen, and Icelandic eco-terrorists.
In his dreams, Karsh continues to see Becca in their bedroom, slowly deteriorating from her treatments, but still hungry for love and to be sexually desired. The awkward, absurd, terrible realities of watching someone you love die is captured in the deep oddness of how the people in this film interact. The dialogue feels unnatural and the performances are slightly stilted— the characters often say outrageous things to each other and barely bat an eyelid. Karsh often falls asleep, and in a way the whole film is like a dream, completely unlike real life, and at the same time expressing something true.
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December 06 2025, 20:50
Director: Kiyoshi Kurosawa
Release year: 2024
Ryōsuke Yoshii buys and sells things on the internet. He has a knack for sensing what’s valuable to the market, then buying cheap and coldly selling for enormous profits. He escapes Tokyo with girlfriend Akiko to find more space for his wares, cutting off his boss and other business associates to do it, but his insensitivity makes him enemies, and a group of them track him down for revenge.
The first half of the film shows Yoshii’s life as an online reseller, buying and selling on an auction website, collecting boxes of anonymous products, staring at a computer screen like he’s betting at machines in a casino. He’s always calculating the options to make money. It’s like in the film Wall Street, where the traders make money by destroying businesses and livelihoods. Yoshii doesn’t care if his goods are real or fake, safe or harmful, as long as they are sold quickly. He seems completely disassociated from the feelings of the people around him.
This unempathic, blank affect, along with a camera that, as in Kurosawa’s earlier films, Pulse and Cure, makes the empty spaces behind characters feel threatening, creates a deep sense of dread. Yushii’s ex-boss represents the straight road of business, and at the start of the film wants to take Yoshii under his wing, but in the film’s second half he shows up with a shotgun and a gang in tow. Things take a turn away from horror and more into a mixture of thriller and black comedy. This didn’t work as well for me.
Yoshii’s new assistant, Sano, emerges as a real-world gangland counterpoint to the motley group of kidnappers. Sano’s easy violence becomes a path for Yoshii to follow and they gradually pick off the gang in an abandoned warehouse. It’s like an awkward, slow video game. The comparison between online and real-world violence is clear, and by the end Yoshii realises his immoral actions have set him on the path to hell.
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December 01 2025, 20:07
Director: Lamberto Bava
Release year: 1985
Music student Cheryl accepts tickets to a film event at an old cinema from a man in a demon mask. She takes her friend Hannah, and they hook up with two boys to watch the start of a horror movie. In it, two similarly dressed couples disturb the grave of Nostradamus and uncover a demon mask. Events in the film are mirrored in the cinema, leading to demons being released and running amok.
I found lots to love here. The people at the cinema are a fun mix of clichéd teens and more realistic adults that don’t act as you might expect. The demons are gloopy and scary, closer to running zombies than demons, converting humans with a slash of their talons. The venue is a fun mix of art deco and eighties trash decor, matched by a synth score and slew of fun eighties rock needles drops.
The dialogue is cheesy, and the acting is so-so, but you also get Billy Idol’s White Wedding kicking in while a man on a motorbike rides around the cinema stalls slaying chasing zombies with a samurai sword. The film within a film idea felt unexpectedly fresh, helped by the maximalist tone. It’s short, tightly edited, and ultimately a splash of gory joy that doesn’t ask much of the viewer except to meet it where it is.
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