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No pun intended - it feels like this tries to establish a mystery ... a story that can be picked up and done in feature length form. Do you believe in Ghosts? In the evil or whatever you would call it. The movie plays in different locations, which is quite the feat for a short movie - and I assume with a strict budget too.

The acting is good, the effects are good, especially for the house or room, we end up in. What do you see? What is there? And have we witnessed anything? The birth of something new in horror - that may be putting it way too high and expectations may not be fulfilled, but I would not be surprised if that is not the end of it ... the best is yet to come (well hopefully not in that form!)

Based on a very original concept that nevertheless is probably familiar to most if not all of us, this is powerful short, one that successfully mixes psychological mystery and supernatural horror, thanks to its non-linear narrative structure as well as its genre savvy directorial effort, and its great blend of impressive imagery - that true to the film's theme often hints more at things than actually showing them - and a very unnerving soundscapes. And of course, a top level cast led by a superb Diane Franklin also helps making this a pretty memorable piece of horror that definitely deserves a watch.

In this 2023 horror film short a university lecturer (Diane Franklin) starts to become as confused and befuddled as the person she is giving classes on - French 'thinker' Jean Baudrillard - as she comes down with a very severe case of pareidolia (the tendency to see patterns amidst seeming randomness - particularly faces). Director Aaron Truss and writer Aiden Truss have created a film which should have made more of it's not unpromising premise - a little more subtlety, patience, nuance and intellect would have helped this film.

That's how Carolyn Pickles succinctly and economically explains 'pareidolia', the trick of the mind which forms familiar images out of the abstract as your ever-industrious braincells attempt to make sense of the world around you. Another character refers to human protective instincts and how we are conditioned to spot evil even when it may not be there - for example, if a caveman thought he'd seen a menacing feral feline beast about to pounce from a tree limb, he'd turn and run, not looking back to even consider whether the creature was illusory.

Director Aaron Truss and his scriptwriter dad Aiden have brought these primal fears screaming into a modern setting in a truly unsettling short movie, based around the titular concept, which will disturb you via its stunning sound design (please do experience this under the most souped-up hi-tech sonic conditions you can) and its remarkable ability to have you simultaneously focusing on the scary unfolding drama while searching all around the frame, wondering whether that blurry beer pump in the background or a combination of shapes on a wall or a bit of machinery might just resemble a taunting or dangerous face.

Producer Stuart Morriss has specialised, in the recent past, in reviving the careers of old telly and cinema favourites from decades long gone - and in less skilled hands this approach can sometimes feel like mere stunt casting or a sad reflection of former glories, but you can always tell that Stuart works his players hard, and that they respond in turn, clearly appreciating being presented with meaty and significant roles, 'something to get your teeth into' as opposed to a simple gimmicky walk-on and a couple of seconds of fleeting audience recognition. The likes of Pickles, Graham Cole, and Diane Franklin grasp the chance to impress one more time, and throw themselves into giving their all and properly enhancing the production. Younger viewers for whom the sight of these old stagers may be meaningless might instead just wish to ask how frightening 'Pareidolia' is, yet even they will satisfyingly discover that it holds its own alongside the best and more expensive/expansive shockers that Hollywood or Netflix are currently offering.