After an epic five days of genre programming, Arrow Video FrightFest is approaching its end. As screen by screen plays its final film, the harsh reality of the world outside of the comforting cocoon of Leicester Square begins to set in. Before that though, Discovery Screen One closer, Everybody Dies by the End, spins a tale about the horror of filmmaking.
A found-footage mocumentary, Everybody Dies by the End joins Calvin (played by co-director and writer Ian Tripp) and his team on their new assignment. Calvin has landed the prestigious job of documenting the creation of classic horror director Alfred Costella’s (Vinny Curran) final feature. Billed as an ‘all practical masterpiece with a dark twist’, Calvin is chomping at the bit to get started. His dream project quickly descends into nightmare territory however; as Costella’s film has a finality to it for more than just his career.
Anyone that has ever braved a film-set will be twisting in their seats during moments of Everybody Dies by the End. Thankfully, not everything on screen is representative of most film productions, but there are enough moments here and there that may trigger one or two with filmmaking PTSD. This comes from both sides. The primary one is the ship that Costella is attempting to run. This is the more extreme end of the spectrum, but one that has a horrible resonance. Scenes between Costella and his lead actress become uncomfortable to watch. One in which he is screaming at her to perform better is a story that has been recounted time and time again in memoirs. Costella’s stunts at trying to manipulate the cast against each other is another story that has been discussed over the years.
On the flip side comes Calvin and his own driven desire to create something amazing. The pressure of perfection often causes manners to drop and Calvin’s behaviour is downright awful in places. He begins as a wide-eyed child, giddy and over-excited to be working with a directing hero. As he gets a peek at the real Costella, a lot of Clavin’s sheen wears off and by the end he is almost as erratic as his hero.
The decision to tell this story in the mocumentary / found-footage format is clever. It allows directors Ian Tripp and Ryan Schaffer to smooth over any inconsistencies that their modest indie budget may throw up. The handheld camera style keeps the viewer in constant motion as they soak in both sides of the movie making machine. It also makes sense from a narrative point of view. Productions often have some variation on videographer recording the shot for future potential makings-of. This move also helps sell the idea that cast and crew would be venting their spleens to camera; it’s a standard part of film life.
At the crux of Everybody Dies by the End is the idea of manipulation and control, especially concerning celebrities. As foul as Costella is, everyone around him is desperate for his approval. There’s an innate need to impress those deemed greater and Everybody Dies by the End conveys why this is not a safe way of thinking. Through various tactics, Costella eventually brings everyone under his control, creating his own cult in a way. This cult of celebrity sees those involved go to extreme lengths to prove their reality. Costella’s mantra ‘accept, celebrate, immortalise’ has chilling connotations. So does everybody die by the end? You’ll have to watch it to see.
Everybody Dies by the End captures all the tempers and stress of making a movie, whilst simultaneously highlighting the power and danger of worshipping celebrities.
Everybody Dies by the End
Summary
A hard-earned win for Ian Tripp and Ryan Schafer, Everybody Dies by the End has a lot to say and does it well.
Everybody Dies by the End was reviewed at Arrow Video FrightFest 2022.
