Contributor Adam Scovell

Two people sitting on the back of a vintage scooter in a grassy field.
Home Ents

Is this one of the great lesser-known location-based horrors?

by Adam Scovell

Robert Fuest’s And Soon the Darkness foreshadows both The Wicker Man and The Texas Chain Saw Massacre.
A man in a dark coat leans against a stone wall, looking intently off-camera.
On Location

On Location: Harry Lime’s Vienna in The Third Man

by Adam Scovell

Retracing the steps of one of film noir’s most iconic characters through the Austrian capital.
Black and white image of a person walking away from the camera in a rural landscape with trees and a fence.
On Location

On Location: The London park from Michelangelo Antonioni’s Blow-Up

by Adam Scovell

Maryon Park in Charlton lies at the beguiling centre of the Italian director’s psychological mystery.
Narrow alley between stone buildings, graffiti on wall, two dogs in foreground.
On Location

On Location: The title sequence from Jacques Tati’s Mon Oncle

by Adam Scovell

The Parisian town of Joinville provides the backdrop to the French director’s 1958 masterpiece.
Close-up of a woman's face with a serious, pensive expression, looking directly at the camera against a dark background.
Home Ents

The strange, sickly pleasures of Amicus’ Gothic horrors

by Adam Scovell

In the 1960s and ’70s, this British film studio produced grisly tales to rival Hammer Horror.
Three men, one elderly and bald, another wearing glasses, seated around a piano in black and white.
In Praise Of

The story of Duke Ellington’s Anatomy of a Murder score

by Adam Scovell

Otto Preminger’s 1959 courtroom drama was the first Hollywood movie to use an African-American composer.
A black-and-white image showing two people walking in a courtyard setting with a large, ornate building in the background and trees lining the courtyard.
On Location

On Location: The final shot from Agnés Varda’s Cleo from 5 to 7

by Adam Scovell

Paris’ Boulevard de l’Hôpital provides the setting for one of the most cherished endings in French cinema.
Two individuals with long, reddish-brown hair standing against a concrete wall.

After the Wave: Exploring French cinema in the 1970s

by Adam Scovell

The decade following the Nouvelle Vague saw the emergence of progressive filmmakers like Chantal Akerman and Maurice Pialat.
Two individuals, a woman in a colourful skirt and a man in casual clothes, walking on a wooden deck near a stone building with arched windows.
On Location

On Location: The footbridge from Richard Linklater’s Before Sunrise

by Adam Scovell

This unassuming overpass plays a pivotal role in Céline and Jesse’s Viennese waltz.
Ornate red-brick building with arched entryway, Gothic-style architectural details, and frosted glass windows.
On Location

On Location: The dance academy from Dario Argento’s Suspiria

by Adam Scovell

A pilgrimage to one of the grandest and most iconic settings in all of horror cinema.

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