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Hayden Hewitt’s Cara unfolds over a tight 96 minutes, first screening to a sold‑out house at London’s Pigeon Shine FrightFest on August 25, 2024, before arriving digitally on February 3, 2025. Set against the grime‑tinged cityscape of contemporary England, the film positions itself at the intersection of kitchen‑sink social drama and relentlessly physical horror.

At its center is Cara, portrayed by Elle O’Hara, a young flatmate earning a precarious living via webcam shows on the sleazy “RedRoomFans” platform. Haunted by childhood abuse and terrified of returning to Sunnyside Hospital, she crafts a brutal plan of revenge that propels the narrative from muted realism into shock‑driven sequences.

The tonal shift—from cramped living‑room conversations to extended practical‑effects violence—echoes both British social‑realist traditions and global genre currents, whether in the stark naturalism of Scandinavian crime cinema or the visceral spectacle of East Asian shock horror.

Within this modern setting,...

Elle O’Hara is fast becoming a rising force in horror. The Glaswegian actress, who has steadily built a reputation for her intense, emotionally raw performances, takes on her most challenging role yet in Cara, a harrowing psychological horror that delves into trauma, addiction, and the unraveling of the human mind.

The film, directed by Hayden Hewitt and produced by Black Octopus, follows O’Hara as the titular character, a deeply broken woman spiraling further into madness. Now streaming, Cara has already made waves in the horror community, with O’Hara’s chilling performance earning her a Best Actress nomination at the Unrestricted View Film Festival in London.

In this interview, we talk to Elle about the processes behind her performances, dealing with heavy subject matter and her future projects.

Elle O’Hara Interview

Love Horror: Hello Elle, thank you for taking the time to talk to us. First off, can...

“I think, in a perhaps slightly over-poetic way, I think she does, she needs to do this… It’s like her version of a journal.” Those words from Harrison Ford on the brilliance of 1923’s creator, Taylor Sheridan certainly have a way of making you stop and think. But while Ford might wax poetic over Sheridan’s female characters, we can’t help but feel like this praise doesn’t entirely match up with what we’ve seen so far in Yellowstone.

Harrison Ford as Jacob Dutton and Helen Mirren as Cara Dutton | image: Paramount

Needless to say, Sheridan’s knack for creating strong, layered women is undeniably impressive, but if we’re being honest, the execution of some of his projects leaves a bit to be desired. 1923 promises compelling characters like Helen Mirren’s Cara Dutton, a woman of depth and complexity. Still, let’s not forget about the baggage of his previous shows,...

2024 was a standout year for horror and genre films, offering a lineup that pushed boundaries, challenged expectations, and delivered seemingly unending frights, thrills, and unforgettable storytelling. From intense psychological horror to cosmic terrors and everything in between, 2024 was a year has gave us films that will have an impact on us well into 2025. The future of the horror genre is looking brighter than ever.

We’ve put together a roundup of our favourite films from 2024 (and a few late 2023/2024 overlapped entries that deserve the spotlight). With our highest-rated picks leading the pack, let’s dive into the must-watch titles of 2024.

Our Favourite Horror Movies of 2024 Ranked 5-Star Favorites: The Absolute Best of the Year The Substance (2024) – 5/5

Dir. Coralie Fargeat

In this mind-bending horror, Coralie Fargeat (Revenge) crafts a tale about a biotech experiment gone horribly wrong. The Substance explores themes of addiction, identity, and power through a chilling body-horror lens.

Sudbury, Suffolk is set to get a lot scarier this Halloween season as the Dead And SudBuried horror festival returns for its eighth instalment, running from 4th to 6th October 2024. What started as a small celebration of horror films has now evolved into a three-day horror extravaganza, featuring nine new feature films, classic horror screenings, 18 short films, director and cast Q&As, and plenty of other terrifying surprises.

The festival’s origins date back to 2016 when organiser Andy Piper decided to host a one-day event as a birthday present to himself. What began as a humble affair screening horror classics has since grown into a full-fledged horror film festival, attracting horror fans from across the UK. Now, Dead And SudBuried is a staple on the horror festival circuit, with its mix of world premieres, UK premieres, and classic films from the genre.

The 2024 line-up boasts an impressive array of new horror films,...

As Pigeon Shrine FrightFest 2024 draws to a close, the horror and fantasy film fans in attendance are still reeling from the intense lineup that has graced the screens over the past few days. On Sunday, August 25th, one film in particular left audiences shaken and stirred – Cara, a pitch-black psychological horror that delves deep into unsettling themes with unflinching honesty.

Directed by Hayden Hewitt, Cara is not your typical horror movie. It’s a bold exploration of trauma, mental health, and the dark corners of the human psyche. We caught up with Hayden to discuss the making of this provocative film, his journey into filmmaking, and his thoughts on the FrightFest experience.

Hayden Hewitt, writer and director 1. Tell us about your film

Hayden Hewitt: Cara is a pitch-black psychological horror film which was fully intended to make audiences uncomfortable and even flinch. I wanted to tackle certain topics head-on, without compromise,...

Cara (2024) premiered on Sunday, August 25th at Pigeon Shine FrightFest in a sold-out screening. Directed by Hayden Hewitt, a co-founder of the infamous shock site LiveLeak, the 96-minute film is bleak to the point of unease. It is a harrowing exploration of the painful depths of the human experience.

Elle O’Hara portrays Cara, a woman attempting to recover from a history of childhood sexual abuse and the resulting scars left on her psyche. She is a sex worker who streams on a red-room fetish site to a small group of fans. The sexual content in the film weaves from reluctant sex work to abuse in a matter of seconds and it’s enough to make one queasy without veering into full exploitation. Here is a woman who is deeply struggling to function despite her trauma on top of the normal experience of womanhood which is already trodden with its own hardships.