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The NamelessDate
of release:
January 10, 2002
Story / Synopsis: Five years after a young girl was murdered, and when her mother seemed to have started to recover, a telephone call once again shatters her existence: "Mummy, it's me...come and get me." Helped by an ex-policeman and a reporter expert in the supernatural, the mother sets out on a desperate search, the search for the terrifying truth laying dormant until now: a group of the occult that rejects its own name, the empirical science of evil, uninhabited desolate houses that conceal things, secrets...A trap of abominable evil. A truth that spreads its tentacles through time and space, from the horror of the Nazi holocaust to the occult fever in the London of the sixties up to the present day.
After years of lethargy, the horrific secret is about to be revealed. A number: 106, an abandoned motel. They might manage to find the child. Perhaps she's alive and can be saved. But the horror is only just beginning...
Other
Information:
Awards: Fantasia - Montreal (July 2000) - Best Feature Film - Audience Award
Fantafestival, Rome (June 2000) - Best Feature Film
Brussels Int'l Fantasy Film Festival (March 2000) - Grand Prix Golden Raven
Best European Fantastic Film 1999 (The 5 most important European Fantastic Film Festivals conceded this prize) - Golden Melies - Silver Melies
Gerardmer Int'l Fantasy Film Festival, France (January 2000) - Special Jury Award - Int'l Critics Award - Audience Award - Press Award
Sitges Int'l Film Festival, Spain (October 1999) - Best Photography - Best Actress
Fantasporto Int'l Fantasy Film Fest, Portugal (February 2000) - Best Director - Audience Award
Puchon, Korea (July 2000) - Special Mention by the Jury
Nota Del - Director's Note What really captivated me in Ramsey Campbell's novel, apart from the terrifying and very original story line, was the treatment given to evil and perversion. In "The Nameless", where both concepts are developed as real entities, almost as something alive that can spread to mankind and take control of it. The way perversity attracts some of the characters in the novel, the fascination that evil wields over them, seemed to me, right from the beginning, to be extremely frightening elements. In a very subtle, almost imperceptible way, this evil gets out of man's control and takes control itself. In some way, the perversity mechanism comes to life goes beyond the will of those who invoked it. Now there is no stopping it. The end could be apocalyptic. In the novel there were too many disturbing elements to let it escape: a dead child who calls her mother by phone five years later pleading for help. A mother sunk into confusion and desperation. Old abandoned houses. A group of malign people who hide and act in silence. An ancient secret that has remained hidden since its conception in the nazi extermination camps. Angels, the nameless ones, those who watch and bide their time. They were more than enough elements for creating fear, the concept of fear that I had always dreamed of putting on screen; the fear that causes anguish, that disturbs, that persists. There was no doubt; we had to make that film, face up to the truth and take it through to the end. Now it's done. And the horror is just about to start.
Ramsey Campbell - The Novel Ramsey Campbell is already a classic of the present day terror novel, the British equivalent to Stephen King, and without doubt the prime example of the English school of terror that is more psychological and perverse than its American counterpart. He has tried almost all the styles of this genre, from the great "Magma Love Craftiano" of his early days, to the satanic and vampire. Some of his best-known novels are "The Doll That Ate Its Mother", "Dark Companions", "The Parasite" or "The Nameless" on which the film is based. This last one is probably the most terrifying and disturbing of his works, descending to the depths of perversion, of madness, of fear: Above all fear.
Cinema: GV Mongkok / GV Tsing Yi / GV Hollywood New York / UA Shatin |
