Paris-set horror anthology to gather international directors Aside from 2007’s Trick ’r Treat, there have
been few horror anthology films released in re- cent years. Now Berlin-based production com- pany Instinctive Films is throwing down the gauntlet with the announcement of a massive new anthology, Paris, I’ll Kill You – its title a riff on the 2006 romantic comedy Paris, je t’aime (Paris, I Love You). It will include at least ten short segments, helmed by established direc- tors such as Joe Dante (Gremlins), Christopher Smith (Black Death), Xavier Gens (Frontiere(s)), Vincenzo Natali (Splice), Ryûhei Kitamura (The Midnight Meat Train), Paco Plaza ([REC]) and Julien Maury and Alexandre Bustillo (Inside). The idea first came to producer Darryn Welch
in November 2009, while he was on the Bu- dapest set of Gens’ latest feature, The Divide. While talking with Eron Sheean, co-producer and supervising writer on Paris, I’ll Kill You, Welch brainstormed ways to bring together the many international filmmakers with whom he’d built relationships. “All these great directors are often together
at festivals, and all know each other to some degree,” says Welch. “What could we offer them that would be an exciting commercial proposition, and something they could also have a lot of fun with? Then, after briefly talking
Inside directors (L-R) Alexandre Bustillo and Julien Maury join a roster of international filmmakers for Paris, I’ll Kill You.
about Paris, I Love You, I thought of how we could turn that concept upside down.” To balance uniformity with creative diversity,
each director will write his own segment, under two guidelines: the story must be set in Paris, and must be no longer than ten minutes. “They all have stories to tell, often simple
stories or ideas they once thought of that don’t necessarily fit into a standard three-act struc- ture,” says Welch. “So this was ideal for them.” Says Sheean: “I think [Paris, I’ll Kill You] is
partially born from the tradition of the EC hor- ror comics. Often they were great little morality plays with wonderful, fucked-up twists. Horror films work best when they have great payoffs, and when they are concentrated into this short format they are somehow distilled to their vital essence, becoming their most potent.” Specific segment details are being kept
under wraps, but Sheean promises that the genre’s entire spectrum will be covered, from “flat-out horror, to supernatural, to black com- edy.” “Each story is really a reflection of the tastes of the directors, an opportunity for them to let
their imaginations run free,” he explains. “Many of the story ideas have been gestating in their minds for a long time, so I think they are pleased to finally inject some life into them. These stories are tied together through a cen- tral story, however we don’t want to give away too much yet!” In addition to delivering scares, the film’s
producers hope to provide a fresh look at one of the most storied cities in the world. As Sheean points out, Paris is the home of Grand Guignol, a theatre open from 1897 to 1962 that specialized in graphic, immoral entertainment. “Everyone has an impression of what Paris
is, and for most foreigners that impression is informed by cinema,” he says. “So for the di- rectors to contribute to that cultural export in their own special, crazy way is part of the at- traction.” If all goes well, Paris, I’ll Kill You could bring
forth a new globe-trotting horror franchise. Says Welch, “If this is well-received enough, we can do Moscow, I’ll Kill You, London, I’ll Kill You, Hong Kong, I’ll Kill You and so on.” MATT BARONE
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