Interview with “Gunfighter Paradise” Filmmaker Jethro Waters

For our readers, please introduce yourself.
Hello readers, my name is Jethro Waters and I’m the writer and director of the feature film Gunfighter Paradise.  I was born in Austin, Texas, moved to North Carolina at the age of 11, and I now live and work in Manhattan.  I know where to find the best grits & Red-eye gravy in The South, and I also know where to find the best bagels in NYC.  There is a chameleon named Elvis who lives among the plants in my apartment window (seriously) and he’s probably got the best view of any chameleon living in the city.

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Bedroom People (2022) [Film Maudit 2.0]

The new standard for horror entertainment has become the lo-fi, filmed on VCR fodder that had lent something of a realism to even the more outlandish premises. The aesthetic has been used in a lot of facets of horror in the last eight years, including horror movies. The classic ARG aesthetic just works and it works well for the short from skilled animator and concept artist Vivien Forsans entitled “Bedroom People.”

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no more room in hell (2023) [Film Maudit 2.0]

“no more room in hell” is a masterclass in how to make a horror documentary without skimming copyright and licensing fees. Rebecca Shapass directs a de-construction of the Romero movie series by taking a deeper more abstract look at how environmental and ecological elements contributes to the rush of the dead, and the downfall of society. Shapass includes snippets of dialogue from the various scripts and spends a lot of the documentary’s time peeking in to various industries including excavation, as well as the rule of capitalism.

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Nu (2022) [Film Maudit 2.0]

I imagine Olivier Labonté Lemoyne’s is going to lend itself to all kinds of interpretations. Maybe it’s just abstract for the sake of being abstract? Who knows? In either case, “Nu” succeeds in being as oddly creepy as it does in being kind of silly, exploring the idea of fear vulnerability. The whole concept of beings that look like nudists plays on the whole nature of voyeurism and the reluctance by many to engage in it.

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