The ninth short film that I got the chance to see at this year’s Tribeca Film Festival—and the fifth that I am covering—is yet another horror title. Terror Night, or Epadunk, is a horror narrative set in Sweden and also classifies as a romantic drama. The film meets the conventions of horror slashers, however, it’s a shame that it couldn’t play more into supernatural conventions. Running at nearly thirteen minutes, the short follows a young woman attempting to impress a boy she likes, with harsh results. Nonetheless, this is a radical narrative to a degree, playing into the complaints of the adult sphere and then twisting that to build an uncanny reality.
Terror Night is written and directed by Jakob Arevärn.
In this review, I will discuss Terror Night. As this article’s title suggests, no spoilers will be present.
Tribeca’s Terror Night Logline
According to Tribeca, here is the official logline for Jakob Arevärn’s romantic horror drama short film, Terror Night.
Josefine installs the world’s fattest bass box in her car before her evening date with Billy. But the loud music turns the date into a battle for life and death.
Tribeca
Discussion
Arevärn’s storytelling is interesting work. While his narration is not perfect, I believe he does something right in reaching for the stars with this short. This is evident in the certain research done with Sweden’s “EPA” culture and modified cars. His chosen genre—or rather, cross-genre, comprising horror, romance, and drama—, his tone, and the authenticity with which he tells the story are precise. The universal notion today that older people are bothered by bass boxes, or speakers—or whatever one calls them—, lends reason to an external conflict surrounding Josefin (Edith Vallo) and her A-tractor. This is not just an issue happening in Sweden but also in other rural and suburban parts of the world.
It makes sense, then, for Arevärn to build upon a story of young people being preyed upon. With Terror Night speaking for him, he urges viewers to question who the actual victims are. The only issue I have here is that the horror aspect can be clichéd in areas. Billy (Toft Svedjeland), with his archetypal name and the choices he makes, is an irritating role. His and Josefin’s dialogue plays into irony, which may or may not be detrimental to the story. Yet, what I appreciate about these two characters is that Arevärn clearly does not care for Billy, and Josefin is unlike most (or all) female leads in horror films.
After all, Josefin and Billy are young people in a day and age where not much about respecting older folks has changed. Local police and other adults warn Josefin about the dangers of playing her music loud, and she just chooses to ignore them. Arevärn also molds an even stranger mythos around bass boxes and the insolent youth with the inclusion of Gubben Hägglund (Sven Björklund) and his wife, Ulla Hägglund (Bodil Mellberg).
The Technical Elements
A lot of what I have come to appreciate in Terror Night lies in the rural environment at play. For one thing, special effects blood artist Anders Muammar and SFX water artist Alfred Sahlén enhance the horror’s dramatic bits. Josefin’s car is rained on, and chaos eventually ensues with the introduction of Gubben. Set designer Ian Wilson does masterfully in this specific scene, especially as the lead character’s A-tractor also serves as a stage for the storytelling. The lighting directed at and through the windshield is warm and bright, driving the short towards brilliance.
I think much of Arevärn’s resources were used in this scene, not just with the vehicle but in the physical struggle between Josefin and Gubben. Storyboard artists Janne Widmark and Pär Olofsson are to thank for the beats and the sequence’s frame-by-frame movement captured by director of photography Maja Dennhag. Meanwhile, stunt coordinator Martin K.R. Zetterlund directs the action between the two characters and also with Billy. However, I do not want to discuss beyond that to avoid giving away the climax and resolution.
The Crew Behind Terror Night
Maja Dennhag serves as the director of photography for the Tribeca short film.
Patrik Öberg serves as the music composer. Jonas Hallén serves as the music supervisor.
Nils Viken serves as the sound designer and mixer.
Anna Brodin serves as the casting director.
Janne Widmark and Pär Olofsson serve as the storyboard artists.
Martin K.R. Zetterlund serves as the stunt coordinator.
Richard Viken Klausmark serves as the VFX supervisor.
Ian Wilson serves as the set designer.
Alex Prowse serves as the costume and makeup artist. Amanda Emaden is the costume assistant.
Anders Muammar serves as the special effects blood artist. Alfred Sahlén serves as the SFX water artist.
The Cast of Terror Night
Edith Vallo portrays Josefin, the final girl of the Tribeca short film.
Toft Svedjeland portrays Billy, Josefin’s love interest.
Sven Björklund portrays Gubben (Old Man) Hägglund.
Zarah From Gonzáles plays Natta, Josefin’s friend. Robert Persson plays Pappan, Josefin’s father.
Hans-Ola Stenlund and Fredric Larsson play poliser (police).
Bodil Mellberg portrays Ulla Hägglund, Gubben’s wife.
Character Developments and Performances
Vallo’s role as Josefin demands more. Not only do viewers invest in her unique personality, but there is a layer of truth orbiting her that other characters do not notice. Arevärn doesn’t say much about her friends and her family, so the short leaves the door open—no pun intended—for an expansion. Regardless, Josefin is a great character with a human goal: love and affection. When the antagonist and the conflict interfere, she must put her foot down. Vallo performs well as a final girl archetype, which is great because Svedjeland—although a good actor, too—is not allowed to carry weight as Billy.
Arevärn’s development of both Gubben and Ulla, if any, shows promise. I love the filmmaker’s attempts to represent both the slasher and the supernatural subgenres of horror through physical embodiments. Although they are one-sided, the two characters open the door to possibilities catalyzed by the bass boxes. The theme has something to deliver, but the short does not have enough time to achieve whatever that might be.
Final Thoughts on Jakob Arevärn’s Tribeca Short, Terror Night (or Epadunk)
Ultimately, Jakob Arevärn is making some wise decisions. His short film is, well, short, but it also treads the waters of what works for certain genres. With his mixture of horror, romance, and drama, he is heading in the right direction. Expanding thirteen minutes into a feature can be an intriguing choice, if he decides to go that route. Again, no pun intended. Overall, watch Terror Night, or Epadunk, with an open mind and figure out whether you agree with me!
4.5/5 stars
Jakob Arevärn’s Terror Night, or Epadunk, is now playing at the Tribeca Film Festival!
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