BLACK CHRISTMAS (15, 106 mins)
SOPHIA Takal directs a remake of the bloodthirsty 1974 Canadian horror film about a group of sorority sisters, who receive far more than tidings of comfort and joy from a deranged killer during the festive season.
As the Christmas holidays beckon, students of Hawthorne College prepare to leave campus for the safety of home.
They are blissfully unaware that a hooded figure roams the campus with murderous intentions.
This diabolical figure follows one girl, Helena (Madeleine Adams), home and stabs her with a broken icicle.
Classmates Kris (Aleyse Shannon), Lindsay (Lucy Currey), Marty (Lily Donoghue) and Riley (Imogen Poots) become concerned about Helena's whereabouts and find themselves trapped inside their sorority with the killer.
However, the shrouded predator soon learns that the teenagers aren't helpless victims.
They are valiant survivors, who are willing to mount a fight to the gore-slathered finish to see the dawn of a new term under Professor Gelson (Cary Elwes).
:: SONS OF DENMARK (15, 120 mins)
RACIAL divisions threaten to destroy the fabric of Danish society in a tense political thriller directed by Ulaa Salim.
The year is 2025 and ethnic tensions in Denmark are at their peak following a major bomb attack on Copenhagen.
Outspoken nationalist leader Martin Nordahl (Rasmus Bjerg) is poised to sweep to victory in the forthcoming parliamentary election, which would signal a major shift in the country's cultural outlook.
In a time of intolerance, 19-year old Zakaria (Mohammed Ismail Mohammed) joins a radical organisation and forges a close bond with fellow enrollee Ali (Zaki Youssef).
They are determined to rage against bigoted people in power, who are encouraging citizens to turn on immigrants.
However, Zakaria and Ali are mere puppets, under the control of forces with disturbing ulterior motives.
:: THE KINGMAKER (15, 101 mins)
AWARD-winning film-maker Lauren Greenfield explored privilege, capitalism and basic human values in her documentaries The Queen Of Versailles and Generation Wealth.
In her new film, the director is granted intimate access to Imelda Marcos as the former first lady of the Philippines uses her knowledge and connections to help her son Bongbong secure the vice-presidency.
To achieve this improbable return to power, Imelda attempts to rewrite her family's widely reported history of corruption.
She distorts the narrative to paint herself as a proud and patriotic matriarch, who will do whatever it takes to protect her homeland for generations to come.
