#TraumaDolls : ITWS & REVIEWS


 In one of the show's most impassioned interviews, THE LAST KNOCK speaks with writer/director Emilie Flory about her upcoming horror, TRAUMA DOLLS. Indulging in the discussion of story, character, photography, and overall filmmaking, it is clear that horror fans will see something amazing in TRAUMA DOLLS. Award-winning director of photography, Tariel Meliava also takes part in the conversation, along with dialogue coach and script translator, Cameron Watson. Don't miss this one!

I had the absolute honor and pleasure of speaking with filmmaker Emilie Flory of Icone Label pictures, along with award-winning cinematographer, Tariel Meliava, and dialogue coach, Cameron Watson, in one of the most enriching interviews that will soon be posted on THE LAST KNOCK on iTunes. Before the interview, I was intrigued by TRAUMA DOLLS, and I now know, beyond a doubt, that this is a film which must be made.  @crashpalace



ITWS by Adam Ginsberg @theadman40
ITWS with french filmmaker @EmilieFlory #TraumaDolls
& Actress Melissa Jaffer from #MadMaxFuryRoad
Tune in to Out of My Head Radio for an eclectic mix of interviews, music and adult entertainment that just may leave you in tears, We're talking aliens, foreign films AND what it was like to work on Mad Max Fury Road, with an actress who was there for it all. Buckle up buttercup, this shit's about to get real...  
The May 16 episode of Out of My Head Radio is now ready for instant streaming/download. Please share and thank you for listening to the show. Click Here:

Interviews with:

Author / Speaker - Sid Prince

French Filmmaker - Emilie Flory

Actress - Melissa Jaffer from Mad Max: Fury Road

This episode features music from:

Doors in The Labyrinth, CLEPSYDRA, DEKAD,
Eversin, James Rooney,  Malka,  JOLLY


KEEPER OF THE QUILL @RiversofGrue http://riversofgrue.com 









Creative collaboration between

Emilie Flory and Keeper of The Crimson Quill @RiversofGrue

I had been asking myself that very question for the past few hours and no answers were forthcoming. The manner in which I found myself in possession of this ornate receptacle was most bizarre and totally unforeseen. It was yesterday, on the last day of a three-day trip to Paris, France whilst paying a visit to my dear friend Emilie… READ MORE:



Bless me father for I have sinned. It has been longer than I can remember since my last confessional”
“Go on child”
“I suspect I may have offended thee lord for the sins to which I am about to confess”
“Our heavenly father is all-knowing. He shall provide fitting penance in exchange for your absolution this day”
“I have participated in sins of the flesh and allowed for my divinity to become compromised. In choosing the path of the wrong I have sinned against he whom I am supposed to love above all others. However, I am not here for penance this day” 
“Then why are you here?”
“Because I desire the sweet tang of your flesh against my lips”

#TraumaDolls Fiction
A creative collaboration between

Emilie Flory & Keeper of The Crimson Quill
@RiversofGrue #Grueheads
“These words were the only ones which Bijou remembered. The neurosurgeon, one of the most decorated in the business, had worked tirelessly to keep her alive after it had looked as though she would succumb to the extensive injuries after her tragic accident. The last few hours had been critical, touch and go for the fallen professional dancer, and it had appeared that the surgeon’s best efforts were to be in vain. However, there was something else responsible for her plucky resistance; a passion not for life but for something far more sinister had kept her heart beating in her chest.
It is widely endorsed that every near-death experience is bathed in a celestial white light but, for Bijou, nothing could be farther than accurate. Her enlightenment was far more grave; tenebrous darkness was all that she could discern as she battled for control of her wantaway soul. However, for as much as her choice appeared unappetizing, the notion of an eternity in swirling limbo was far more distressing. Sometimes, the devil we know is not preferable, whereas the blackened passageway before her at least offered some kind of alternative.”…


Malevolent Magazine #6 October 2014

Horror Mansion @HorrorMansion @HMmonster


An Interview with Emilie Flory

by Dean Sills @dean_sills


ITW with Emilie Flory by Dean Sills : http://www.ukhorrorscene.com/an-interview-with-emilie-flory-by-dean-sills/ … … via @UKhorrorscene

Promote Horror @PromoteHorror
Women in Horror: Featuring Emilie Flory

Scariestmoviesonline @obscure_horror




A Horror Film that Must be Made: EmilieFlory’s TRAUMA DOLLS –

Review by Billy Crash @crashpalace

TRAUMA DOLLS must be made.

Find out why at Crash Palace :



Emilie Flory & her Genre-Bending #TraumaDolls
By Shirin “Shiver” Hijab from Alisha Bunting’s @SplatsOfBlood
Emilie Flory is becoming something of an underground icon. Her upcoming project “ Trauma Dolls”, about a woman named Bijou who suffers a horrible accident and becomes a fashion model with murderous intent, may propel her into the radar of horror fans in the US and abroad... Read more: http://www.splatsofblood.com/emilie-flory-genre-bending-trauma-dolls/




Time to start salivating !

#TraumaDolls : The Initiation

- A review based on the screenplay

by Richard Charles Stevens / Keeper of the Quill @RiversofGrue

“…Trauma Dolls is a concept which Emilie has nurtured from its very first seed and currently she is setting the wheels in motion to ensure that it moves on into production very soon. Truth is; she had me at Trauma Dolls. The very first time I heard the title I had an inkling about this particular movie. Upon watching the promotional trailer attached to her IMDB page I began salivating and the slobber has only thickened since I can assure you…Everything about this screams quality and, having now become one of precious few afforded the opportunity of reading Emilie’s breathtaking screenplay, I can confirm that Trauma Dolls is set to come good on its pledge… Emilie’s screenplay hit me on two levels simultaneously. Firstly, no character is superfluous, everyone and thing is necessarily and integral to her plot. I may possess a particularly lurid imagination but it wasn’t required to work hard to visualize each key detail so painstakingly woven into her intricate treatment. At no point did I not have a clear mental image of every solitary scene and development as it played out on the page. Secondly, it explores the deepest, darkest recesses of the human mind and encourages that we do the exact same thing. This will undoubtedly be an experience which will nestle underneath our skin long after the final credits have rolled. However, it does so without a whiff of pretentiousness, and highlights Emilie’s command of every last one of our senses while telling her tale…” READ MORE:



by @RiversofGrue


On the opposite side of the Atlantic is a Parisian screenwriter and film-maker who I hold very close to my heart. Emilie Flory is an astonishing soul, moreover, she is an exclusive talent and one on the brink of a worldwide explosion with her forthcoming Trauma Dolls project assembling to flourish. I have been beyond impressed, not only with her stunning screenplay for this masterful film, but also with the way that Emilie carries herself on a daily basis. She spreads so much joy, hope, and love to all those around her, despite the fact that she has her own empire to tend to. My favorite pastime is to pay it forward and this is a custom that she fully endorses. In order for us to proceed and prosper, we need to be able to recognize others in the equation and wish for their triumph as much as our own. Emilie gets this. She is arriving at a pivotal time for female film-makers, with the likes of Jessica Cameron preparing to unleash Truth or Dare in 2015 and The Soska Twins already tearing shit up, Emilie’s insurgence is all the more critical. She has countless tools at her disposal but also a certain je ne sais quoi which makes her unique. France has provided some of the finest horror of the past decade and that is set to continue once Trauma Dolls bleeds into the fray. I feel beyond proud and privileged to hold an exclusive place at Emile’s table, indeed she is one of my favorite people on the planet, and hers promises to be a most extraordinary banquet.

 Click here to read the article: http://riversofgrue.com/2015/06/15/united-we-slay/

Today #Grueheads, I have a special treat for you. As you may be aware, recently I released an article by the name of The Initiation, which spoke of a project which I have great expectations for, Trauma Dolls. Every once in a while, a concept arises which strikes a particular chord with me and, when this happens, it is my job to make sure that word travels wide and far. Having recently read the screenplay, which I could visualize from first shot to last, my excitement has gone into hyper drive and it’s only set to intensify as Trauma Dolls moves closer to production.

Body horror has always fascinated me from a very young age and, when done justice, there are few sub-genres which can nestle so effortlessly beneath the pelt. However, the appeal of Trauma Dolls is far greater than simply a tale of technology gone awry and has massive social relevancy, with rich sub-text which touches on the search for acceptance in an industry which breaks far more people than it makes. I’m speaking of fashion, the multi-billion dollar behemoth responsible for enlightening us as to how we should all be looking, dressing, and carrying ourselves…

…Trauma Dolls offers an expose into this often cut-throat world and it forms the backdrop for a tale which truly needs to be told. Think Black Swan, then ramp it up to thirteen, Darren Aronofsky’s chic classic was a beautifully made motion picture and had the ability to linger long after its curtain call. Trauma Dolls does all of that and a bag of pomme frites, delving deeper into the neurological make-up of its protagonist, and conjuring up some truly unnerving answers…

…One need only look at Oklahoma Ward and Nicole Alonso and their blueprint for spearheading this assault. There are certain things that the studios just can’t fathom; certain films that only an indie can make as they’re the kind of features not feasible to the mass-market drones. This is where we can take the power back. We need to think smart, produce the kind of material to prove our unique potential, and it is here that we are excel as we know the breed well, it manifests through hard work, committment, passion and zeal, four things which Emilie Flory possesses in abundance. Ultimately it all boils down to whether something is considered marketable and I can state with vehemence that the Trauma Dolls, and Flory herself, tick every conceivable box.

Click here to read Trauma Dolls: The Initiation



#TraumaDolls is a #Grueheads Film



My cherished Grueheads, today I bring you news of something truly wonderful. It is with immense pride that I inform you that Trauma Dolls, a film written by and soon to be directed by Emilie Flory, will be the very first #Grueheads Film. I have made no secret of the fact that I believe this to be a monumental motion picture which will highlight just how vital a film-maker Emilie is and how much the industry needs to embrace her exclusive gift for storytelling. Once I commit to a project I will do everything in my power, and more besides, to make sure that it is enabled to flourish. No half-measures, no doubt or fear of failure; merely unshakable belief. A little belief, as we are all aware, can go a very long way.

The term Grueheads is one which has so much meaning for so many like-minded people. So many of us grew up idolizing horror and have nothing but adoration for this most expressive and outspoken of genres. What is also glorious is that anyone younger, experiencing horror for the first time, can find unflinching acceptance within our fast-growing family unit. We all share one thing in common and this is something inestimable. I speak of passion. Recently it has become hard to keep up with my daily tweets and I know that said passion is circulating like wildfire while I am absent. The same can be said of Emilie; she is working so hard right now to make Trauma Dolls a reality and repay all the faith that the Grueheads have bestowed upon her. This will be her gift.

It is evolving every day without question. Soon she hopes to begin work on translating her stunning words onto screen and she plans to marry her European style for visual storytelling with an American flavor which will truly set it apart from its contemporaries. I have always taken great pride in my insight and ability for spotting diamonds in the rough. Emilie sparkles brightly and that is why I mention her in the very same breath as masters such as David Cronenberg and Dario Argento. I’m basically giving the industry a heads up; paying my gut feeling forward in kind and letting everyone know that here is a screenwriter, a director, with true foresight…

READ MORE: http://riversofgrue.com/2015/07/07/trauma-dolls-the-evolution/

Trauma Dolls:
The Uprising

By Keeper of the Quill @RiversofGrue

There is a buzz building as we speak. Word is beginning to filter across the worldwide web for a project which I make no secret of my personal attachment to. Trauma Dolls is coming and already people are beginning to salivate over the prospect. This week represents a significant rung in the ladder as we commence our climb. On Friday it was revealed by our very own Gillian Gibson that the first of many Trauma Weeks is now officially upon us. This is an adoring celebration of this magnificent proposition and also a statement of intent as the Grueheads pledge their allegiance to its eternal cause. We don’t do things by halves and thus it seemed only right to make a noise for all to hear. Heads are turning, cogs too, as the world becomes aware of just how exclusive a proposition Emilie Flory is suggesting. This film is going to blow head gaskets like diesel in an unleaded tank. That’s right; the Trauma Dolls are set to annihilate.

This is where we all have an opportunity to ensure that our glorious collective voice be heard in no uncertain terms. For the uninitiated amongst us, and until recently I would have fit this demographic, allow me to introduce you to the art of hashtagging. If, like Keeper, your preferred medium for social networking is Twitter then you should be aware of this new-fangled craze. For as much as it may appear ineffectual, the application of a single hashtag can draw attention to a word or phrase. By entering #TraumaDolls into your search bars, you will instantly be transported to a page dedicated to any similarly themed tweets…

Special thanks to Greg Palko @palkodesigns for this stunning artwork designed


Already a number of well-respected artists have begun work on their own interpretations of Emilie’s dark vision. Right now, we are being steadily drip-fed data and there is much still to ascertain about this formidable concept. However, Trauma Dolls is an enigma. The numerous tantalizing promotional posters speak loud and clear about both its verve and vogue. Fashion and passion ooze out of every image; style and guile are present in über-abundance. The horror theme affords Emilie an opportunity to inject depth into an often shallow industry; offering one-part expose and the other intimate insight. By delving so deep into the cerebral make-up of our crestfallen angel Bijou; Emilie affords us personal attachment unbounded and we get to see the world she sees through her magnificent blackened peepers.”…

Trauma Dolls Tribute
Trauma Dolls Movie Project  by ICONE LABEL PICTURES
It is no secret to the social networks at Twitter, YouTube, Google, and a score of other places to include IMBd that this adult horror project is taking off in a grassroots campaign. It would be impossible for me to list every small company, interest groups, fans, supporters, and those promoting Emilie Flory’s dream and vision of making this movie a reality within this brief post.
There is however, a few additional links on where you can get familiar with Icone Label Pictures right now:
·         All about TRAUMA DOLLS
·         IMBD: Video Presentation

Now that you are aware of this project, it is high time for you to get involved!
Perhaps you’re strapped for cash and we all have lives to live. This we all know and understand. Nevertheless there are things you can do to help. You will be surprised on how much of an impact you can truly make!
Again, there is so much you as an individual can do. You ever heard of “Word of Mouth?” This is still top dog in getting people to take notice and in turn, spread the word further. It’s very easy and here are some things you can do!
1.If you are on Facebook, Twitter, Google+, and other social networks, you can make mention and support this project by RTs, links shares, comments, posts, and the like.
2.If you are a blogger on WordPress, just re-blog this article.
3.If you are a blogger on any other blog, just write a brief post with the information provided here as well as from the official site.

Written by Emilie Flory @EmilieFlory translated by Cameron Watson

Posted by Keeper of the Crimson Quill @RiversofGrue www.riversofgrue.com
“A real journey is the one that teaches you something different from what you expected. You need to change direction, to create and to discover. The real discovery is unpredictable.”
These words borrowed from Michel Serres recently presented the twenty-first edition of the Festival de l’Etrange in Paris, which took place at the Forum des Images as it does every September. Hyped in the press as being superior to the precedent festival, the films selected show a rather invigorating appetite for genre. Just by reading the program (Brand New-U, Baahubali, Tag, Tangerine, Jodorwsky’s Dune, Stung, AAAAAAAAAH! The Invitation, Ruined Heart, Wyrmwood, Tales of Halloween, etc.), we can see the level of originality and excellence of the movies showcased during this surprising festival which once again confirms the upsurge of genre filmmaking.

Two movies in competition are worthy of special mention: Nina Forever by UK-based brothers Ben & Chris Blaine and Turbo Kid by Canadian trio François Simard, Anouk Whissell and Yoann-Karl Whissell. It’s also interesting to note that these two movies are distributed by Epic Pictures, one of the finest distribution companies on the market, if not the finest. Their choice of material is extremely specialized and risky (far from the usual formatting) and, while keeping in mind the requisite for entertainment, the studio chooses to distribute and sell movies that are real movies by filmmakers. This key point is one of the reasons for the company’s wide success. Epic has grasped what tomorrow’s audience wants and what will soon be the movies of the future. Among its figureheads is Shaked Berenson, executive producer on Turbo Kid, and a dedicated movie aficionado. When one does things with passion, the public can always tell.

2015 (UK)
Written and directed by Ben & Chris Blaine
Romantic Comedy/Horror
Filmed in Alexa, Format 2.35 – Dolby Digital Sound
With: Fiona O’Shaughnessy, Abigail Hardingham, Cian Barry, David Troughton, Elizabeth Elvin, Bill Holland
Director of Photography: Oliver Russell
It’s always a positive to meet the directors and star of the movie that’s being screened, especially when they are warm and approachable, and the movie in question is presented by the international press as being something of a little gem. Despite the fact festival-goers were lucky enough to meet The Blaine Brothers and their leading lady, Fiona O’Shaughnessy, whose portrayal of bloody Nina is magnificent, they still weren’t prepared for what they were about to see.
The subject of Nina Forever, very original and quite shocking, is absolutely delightful. Holly appears to have found true love when she falls for her colleague Rob. He is nursing a broken heart after losing his significant other in a fatal road accident and she desperately wants to relieve his anguish. However, the couple’s happy union is soon compromised when the restless Nina returns from the afterlife and begins taunting them each time they attempt intimacy. If this sounds like a recipe for success then rest assured it is.
Because it’s treated both realistically and in an off–beat way (we are crazy about that irresistible British humor), the movie has a refreshing and wholesome fairy tale aspect to it. Strangely enough, the love scenes, which could have been the movie’s weak point, actually prove to be its strong suit. Note that in these scenes, both the actors’ performances and the directing are brilliant. It’s quite rare that sex on the screen turns you on. With the exception of Basic Instinct or Enter the Void, onscreen sex often excludes us and can bore us to tears. Here, it’s exactly the opposite. There’s an amazing energy that emanates from these scenes and we really feel involved!

Nina Forever is supported by a fabulous trio of actors (Fiona O’Shaughnessy, Abigail Hardingham and Cian Barry) who make it a wonder of pure, real emotions. Holly’s character, played by Hardingham, transforms in a few minutes from a feeling of emotional deprivation to a spectacular state of true love. Thanks to her sincere and remarkably moving performance, which responds to a turn from Barry full of sensitivity, restraint and depth, we are swept away willingly into their story.
Making one believe in a feeling of real, deep love is not an easy feat, but The Blaine Brothers’ camera captures this emotion exquisitely and ramps it up tenfold. As their directing is perfectly controlled throughout, we see the real theme of the movie emerge rapidly. What we’re talking about here is a certain frustration, a certain feminine harshness faced with the lack of romanticism and the insistent physical desires of their masculine counterparts.
What makes the film fantastic is that by underscoring this frustration, the authors actually express a real masculine distress faced with the opposite sex’s lack of understanding. The intention might seem to be defeatist, but it isn’t. The extraordinary love Holly and Rob feel for one another is what remains when the movie is over. Nina Forever is a declaration of love made to women; the movie’s title speaks for itself.
2015 (Canada/ New-Zealand)
Science Fiction – Action
Written and directed by François Simard, Anouk Whissell and Yoann-Karl Whissell
Filmed in Alexa, in Red and with a Sony A7S, Format 2.35
With: Munroe Chambers, Laurence Leboeuf, Michael Ironside, Edwin Wright, Aaron Jeffery, Romano Orzari, Orphée Ladouceur
Music: Le Matos, Jean-Philippe Bernier, Jean-Nicolas Leupi
Our second feature begins in a post-apocalyptic wasteland, where orphaned young daredevil Kid lives on his wits alone, riding his BMX across the barren land as he hunts for tradable items. After coming across the girl of his dreams, bubblegum princess Apple and promptly losing her to treacherous overlord Zeus, Kid is forced to access his turbocharged inner hero and take on the might of Zeus’ masked militia and save the day. Game on!
Like Nina Forever, Turbo Kid played to a packed house when it was screened in the huge, 500-seat movie theater at the Forum des Images. Highly applauded, the movie is a treasure of originality, poetry and freshness. It’s a movie that speaks directly to our inner child. The awestruck look that our hero maintains is the movie’s principal subject and also its raison d’être. The Kid is a hero capable of eradicating evil with an unwavering faith in what is beautiful and pure. His faith in humanity is unchanging even when this humanity, expressed in the guise of unconditional love, comes from his robotic girl friend, the loquacious Apple, admirably played by Laurence Leboeuf.
Seeing a magical movie like this emerge in a time as cynical as ours is nothing short of miraculous. The movie’s first twenty minutes are rather critical for any moviegoers unaccustomed to this kind of off-beat eighties show. But the subject’s sincerity and the characters’ power, not to mention the spectacular primary bloodbath in Zeus’s arena, dispels any remaining doubts regarding the kind of movie we’re watching.
Turbo Kid is an entertaining, layered movie which plays the splatter movie card to the max but never once abandons its good humor. While the splatter is a whole lot of fun, it’s the unbelievably powerful emotion which truly makes it resonate. All bases are covered and the ingredients one expects from a movie are present and correct: suspense, laughter, emotions, fear and action. Yet Turbo Kid doesn’t resemble anything we have ever seen. Moreover, one would almost be tempted to show it to kids since its poetic atmosphere is rubber stamped with grace.
It’s satisfying to note that one can still achieve fresh results thanks to perfectly assimilated solid references. Of course, the trio of directors know its heritage and we appreciate any nods to Mad Max, The Terminator or Soylent Green. But when Apple and the Kid kiss under an umbrella just as a shower of blood suddenly rains down, we’re elated because, against all odds The Umbrellas of Cherbourg suddenly appears, a romantic musical comedy if there ever was one. And in that resides the esprit of this wonderful movie, just as enchanting as it is utterly surprising. In spite of its wonderfully stylized look, Turbo Kid had surprisingly a limited budget. But the essentials are precisely where they should be and we happily play ball.
While the movie’s sets are minimal, the dryness of wide open spaces serve its subject since water has become a rare commodity and an effective way for Zeus (a brilliant as ever Michael Ironside) to enslave his subjects. Another plus comes with the props, costumes and also hair and makeup. These are very important elements, especially with a film such as Turbo Kid, which optimize the experience markedly. A tip of the hat to a crew aware of how to effortlessly to keep us invested for nearly two hours and inspire our imaginations, making us fully believe in an improbable world. A challenge perfectly met then.
Another crucial factor which lends Turbo Kid its magic is its fantastic special effects. They are old school down-and-dirty practical effects and, far from weakening the movie, they ensure a touching sincerity plus a real life expectancy. Fans of genre movies, tired of the clinical nature in which these films present soulless CGI, will certainly value it.
The soul is unquestionably the film’s driving force. It is constantly evident and reveals itself through a killer score, which relays every emotion. Nearly the whole movie is punctuated by audio and, surprisingly enough, it works. The editing and sound mixing, implemented in masterly fashion, brilliantly maximize the impact of every scene in the movie. There are scenes, in particular, romantic exchanges with Apple, where the music amplifies the actors’ performances calling to mind the silent movies of years long passed. In this respect, Turbo Kid is something of a UFO.
As mentioned, the performances are amazing without exception. Turbo Kid gratifies us with its spot-on three-star casting: Chambers is fantastic as the Kid and is ideally matched by Leboeuf, who is similarly exceptional as Apple. As for Jeffery, he’s irresistable as cowboy Frederic and perfectly counterbalances the Machiavellian style of Zeus as presented by Ironside, stunningly cynical and particularly memorable as half-man, half-robot tyrant.
The RKSS collective have fashioned a movie which, despite being massively engaging, does more than simply entertain. It talks frankly about the mess our societies are already in. By drowning ourselves in numbers, the world has let accountants dictate its actions… The leaders themselves have been deceived by the machines which took their place… Prophetic? With ingredients that mesh so well and the soul it bears proudly there’s every chance that Turbo Kid will become the cult classic it deserves to be.

 For its 10th anniversary, the HollyShorts Film Festival pulls out all the stops and gives genre films their due…

With the explosion of a genre stunner that’s going to trigger some serious shock waves: Starry Eyes A little bit of horror in Paris with the Paris International Fantastic Film Festival that just wound up its fourth year!...

CRUISING: more timely than ever!…
As evidenced by the publication of the fascinating crime thriller BLOODLETTING, a grisly, erotic gem penned by William D. Prystauk.