Hagen keeps his dead wife preserved in his house as he hopes that one day, she will keep her promise and return back from the realm of the dead to the living. Until he meets a man named Travis, who offers him a passage into hell to go in and bring Elizabeth back from the dead. Can such things happen or is this a trap to prey on Hagen's weak mind.

When Travis loses his brother through mysterious circumstances, a demon named Morbius strikes a deal with him to do his bidding in exchange for the soul of his brother back again. But with his life spiraling out of control through heroin, can Travis discern what is reality and hallucination?

With his life turning into shambles and his lover cheating on him with another man, Morbius seeks out the occult in hopes it will help him win the heart of his lover back again, until he discovers that hell is something that can be created, and not a punishment like many religion have fooled us into believing.

While Necromentia can be enjoyed as a stand-alone movie experience, this movie was created with a deeper and more sinister undertone of occult and scientific studies whose roots traces back to King Solomon.

OCCULT ROOTS:
Throughout Necromentia, one will find The Greater and Lesser keys of King Solomon. These keys were used by his priests to conjure up spirits to talk to dead. Occultists today continue to use these symbols in Thelemites teachings and other occult driven sects such as Aleister Crowley's Hermetic Order of the Golden Dawn.

The keys are commonly used in various times and planted in different positions depending on the moon, time of year and pole magnetism of this earth. They were carefully replicated throughout the movie to create a greater sense of feel for the occult, because this... is... real.

SCIENTIFIC ROOTS:
The Scientific roots of Necromentia was that the film was modelled after the Creutzfeldt-Jakob's Disease (CJD), a rare dementia first discovered in the I92Os. Like the CJD disease, the movie was divided into three stories, each one modelling after a particular stage of the disease. Hagen's Story (Sporadic sCJD), Travis Story (Variant vCJD) and Morbius' Story (Familial fCJD). And since CJD is a degenerative disease, also explains why the movie is told in a backwards fashion, each time line mimicking the same tables and graphs that doctors have used to chronicle this disease. (More information of this unique scientific modelling to pace a film is available upon request or in our upcoming documentary, NECROMENTIA REDUX).

After years of trying to conceive, Madeline (Ladd) and Michael Matheson (Stephen Park: SLITHER) are finally about to become parents. But with only weeks to go before delivery, an accident leaves both Michael and the unborn child dead. Devastated, Madeline decides to carry the child to term and deliver naturally. What seemed like madness becomes a miracle when, after delivering a dead child, Madeline finds her baby is indeed alive…and hungry. She soon discovers that her baby – now named Grace – thirsts for something more than mother’s milk, and Madeline is determined to feed her child, no matter the consequences. With nowhere to turn, Madeline must make a mother’s ultimate decision: What will she sacrifice to keep her child alive?

Grace has wowed – and terrified – audiences all over the world. In addition to Sundance, the film was an official selection at the South by Southwest Festival, the AFI Dallas Film Festival, the Independent Film Festival of Boston, the San Francisco International Film Festival, the Seattle International Film Festival, as well as the upcoming Sitges International Film Festival of Catalonia, Spain, Puchon International Fantastic Film Festival and Montreal’s Fantasia Film Festival. Other festival screenings include Portugal’s Fantasporto Festival, Athens Science Fiction and Fantasy Festival and Scotland’s Film Four Frightfest. In February, Grace was awarded the Prix Du Jury Award at the Gerardmer Festival Du Fantastique 2009 in France.

Hailed as “downright chilling” by Variety, and “… a blood-soaked piece of social commentary” by MSN, Grace has emerged among critics as nothing short of a genre phenomenon. Cinematical wrote: “First-time writer-director Paul Solet…proves himself adept both as a visual storyteller, and as a guy who can make you crap your pants,” while EOnline bluntly stated: “Let this be a warning: View at your own risk.”

Grace on DVD and Blu-ray cradles a bundle of bonus features charting the film’s conception, execution and delivery:

Audio commentary with writer/director Paul Solet, producer Adam Green and director of photography Zoran Popovic

Audio commentary with writer/director Paul Solet and actor Jordan Ladd (Blu-ray™ exclusive)

Grace: Conception – charting the film’s origins;

Grace: Family – an in-depth look at the cast of characters;

Her Mother’s Eyes: The Look of Grace – designing the unique visuals

Grace: Delivered – overcoming challenges during principal photography

Lullaby: Scoring Grace – creating the score and sound effects

Grace at Sundance – becoming a festival sensation

Theatrical Trailer

Grace was written and directed by Paul Solet, and produced by Ingo Vollkammer, Cory Neal, Adam Green and Kevin DeWalt. Scott Einbinder and Simon Edery are Executive Producers. Zoran Popovic was Director of Photography and Martina Buckley was Production Designer. The film is an Indigomotion release of an ArieScope Pictures Production in association with Dark Eye Entertainment, and will be distributed by Anchor Bay Entertainment.

Secret Story: For Those Who Scroll

The dark of the Movie theater. How trusting you are to sit in the dark with hundreds of total strangers, also sitting in the dark,

Right - Behind - You.

I remember working in the Movie Theater as a young lad. After a while, I got bored with the novelty of seeing free movies, the SAME movies, several times a day in chunks, scraps, and pieces. Then there were the rude folk. Those human droppings who try to waste everyone else's money and enjoyment by making stupid remarks, kicking the seats in front of them, and/or being generally obnoxious. I would always be the one, chose by the management, to go quiet the "loud" ones because I was pretty good at it.

I'm a big guy and I was good at getting obnoxious people to be quiet.

I could always be counted on to go in; make the noisy people in the audience silent, and come back out. No muss, no fuss: not ever

Truth be told though, even in a 12 screen theater, it was hard to keep quiet about the people who wouldn't leave after the movie was over: the people for whom an ambulance had to come and take them away.

No witnesses of course: total strangers, no one knew each other. The folks seated in the dark, didn't see what happened, or maybe did see but were secretly delighted at the plight of the obnoxious jerk who had harassed them so.

Hmmm. I didn't really think of that at the time. I probably should have given that more thought.

In any case, the first three times it happened, the manager was very tense about having to call an ambulance and the subsequent arrival of the police. And yet she didn't fire me, and she didn't send someone else: I was THAT good at my job. One day she was told that if the police or ambulance had to come one more time, they would close the place down, there would be an investigation, and they would release it to the news.

So . . . did my boss turn me in? Did she fire me?

No. She just stopped calling the ambulance: No ambulance, no police. Whenever somebody couldn't leave, she would send me alone to go with the great big plastic garbage cart to clean up the screen room for the next show.

Soon, obnoxious people weren't coming to our theater as much. Everything was fine for many months, almost a year. My manager was promoted out of the theater and they sent someone else to run the show.

One summer day, two days after school let out, we had one screen room with an ENTIRE ROW of rude noisemakers, disrupting others and daring the other moviegoers to do something about it. I remember that it was a very hardcore horror movie: a gory blood and guts kind of flick; really attracts a select type of fan. As always I first asked the noisemakers to please be quiet in respect to the rest of the patrons. That works about half the time.

"You think you can make us be quiet?" was the response. Well of course I could. I knew that, though I guess they didn't. There were many of them, so I couldn't be furtive, quick and silent as usual - but - I did make them be quiet.

I silenced them during the loudest, most screamingest part of the movie.

- Just as the film broke.

- A blinding bright shutter blade of light froze me and exposed me at 24 frames a second.

The automatic sensor alarm on the projector alerted the manager in her office. This was her first time with me and my methods.

She arrived in time to see the result of silence. She stood there gaping at me and my work. Then the stunned crowd rose to give me a standing ovation. Some of my new "friends" helped me move the silent people out to the dumpster. They clapped my horrified manager on the back and swore how they "would always come back to THIS theater!"
"This one really takes care of their customers!"
She left in a daze while I cleaned the screening room, only to ask my co-workers to call the police. Her surprise at me was compounded by the response she got from them. I'd worked at the theater for years and many of them had worked with me nearly as long. So of course they knew me and what I did. I'd been at it for a long time.

After closing, the new manager asked me to "Please help me lock up."
When everyone was gone, she courteously gave me the day's receipts, over $30,000 dollars in cash, and asked me to "Please quit." and never come back. She was exceedingly polite.

I'm not stupid of course, I clearly understood her reasons and I appreciated her being up front with me.

I finished college and got my degree. Now I'm a police officer. The TV show COPS is coming to our city next week to spend a month taping and riding with us. The Police Commissioner himself has given me that time off: a bonus vacation with pay.

-Feo Amante