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SMALL BUDGETS, BIG SCREEN
The beautiful chaos of independent horror filmmaking, and the story behind Charlie Shaw's Revenge.
Hollywood has a remarkable talent for making the impossible look effortless. Entire cities collapse, monsters emerge from the darkness, and someone somehow manages to deliver an emotional speech while the world is literally ending.
Behind all that spectacle are enormous budgets, hundreds of professionals and resources most filmmakers could only dream of having. But some of cinema's most interesting stories are being told far away from the machinery of major studios, by people who have considerably less money, an extraordinary amount of determination and, occasionally, a rather unhealthy relationship with sleep.
Independent cinema has always fascinated me because it reminds us that filmmaking is, before anything else, about storytelling. But what exactly makes a film independent? Contrary to what some people might believe, it doesn't necessarily mean a film made with a tiny budget. Independent films are generally produced outside the major studio system, often through smaller production companies or independent financing. And while money certainly plays an important role, what makes independent cinema particularly interesting is the creative control filmmakers can have over their work. Without the same commercial pressures as major Hollywood productions, they're often able to experiment with stories that bigger studios might consider too risky. Horror, in particular, has a wonderful way of taking advantage of that freedom. After all, fear doesn't care how much money you've spent bringing it to the screen. Sometimes the most unsettling moment in a film is the one where almost nothing happens, leaving your imagination to create something far more terrifying than anything the camera could possibly show.
May Baciquetto Executive Editor
Which brings me to Charlie Shaw's Revenge, an independent horror film written and directed by John Langridge and produced by John, Justin Hayward and Renato Pires. The story follows a group of workers attempting to reopen a remote adventure park on the brink of bankruptcy, only to discover that their biggest problem isn't the struggling business, but a silent killer determined to make sure they never leave. It's a setting that offers everything a horror filmmaker could possibly want: isolation, abandoned attractions, plenty of places to hide and, unfortunately for me, a terrifying clown.
Now, I should probably explain something before we go any further. I have coulrophobia, which is the rather sophisticated name for being absolutely terrified of clowns. And we're talking about a genuine phobia here, one that has actually made its way into conversations with my psychologist. So when I found myself preparing to interview the director and producer of a horror film involving a murderous clown, I couldn't help questioning some of my recent career decisions. Apparently, my love for cinema has finally become stronger than my sense of self-preservation.
But beyond my questionable willingness to confront my greatest fear, what interested me most about Charlie Shaw's Revenge was the story behind its creation. Because while the characters were fighting to survive inside a failing adventure park, the filmmakers were dealing with their own challenges outside the fictional world: unpredictable weather, tight schedules, limited resources and the rather complicated task of filming inside a 65-acre theme park that needed to operate normally the following day.
As John Langridge told me, the similarities between fiction and reality became increasingly difficult to ignore. What began as a story about people desperately trying to keep a struggling attraction alive eventually became a production where everyone was fighting against the elements to bring a film to life.
And if making the film sounds stressful, wait until you hear what happened behind the camera. Because as much as I love talking about the creative freedom of independent cinema, someone still has to figure out how to bring those ideas to life. And as John and Renato quickly discovered, having a good story is only the beginning.
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WHEN THE BUDGET SAYS NO
Before creating a nightmare inside an adventure park, John Langridge was a little boy in England who loved telling stories. Growing up in a working-class family, he remembers watching Star Wars in 1977 and feeling that Hollywood was a million miles away from his reality. He wasn't particularly interested in academics or sports, but writing? That was something he could do. His teachers would read his stories aloud to the class, and sometimes he even got ten minutes at the end of the school day to entertain everyone with his latest creation. "You know the character of Geordie LaChance in Stand by Me? That was my childhood," he recalled. Years later, after training as an actor and spending time on stage, he realised that he wanted to stop performing other people's stories and start bringing his own to life.
Renato Pires, on the other hand, took a slightly different route into the entertainment industry. And by slightly different, I mean he went from the Navy Marines to circus school. Yes, you read that correctly. He eventually found his way into theatre and television in Portugal before moving to the UK, where he began working in film. "Acting has always been the heart of it for me," he explained. But producing became another way of helping stories reach the screen. It's quite an interesting combination, really: a man who grew up dreaming of cinema and another who trained in the circus, eventually coming together to make a horror film about a murderous clown. I'm beginning to think the universe has a rather questionable sense of humour.
But bringing Charlie Shaw's Revenge to life required considerably more than an interesting background. As Renato explained, filming inside a functioning 65-acre theme park came with some rather unusual responsibilities. "Every day we had to set up, shoot, and then clear everything down so the park could operate normally the next day," he recalled. Add unpredictable British spring weather to the equation, and suddenly the practical challenges become almost as exhausting as the fictional ones. At one point, the production was dealing with black canvas that looked fantastic on camera but became a nightmare whenever the wind picked up. Personally, having lived in England for several years now, I think planning an outdoor production around British weather deserves its own horror film.
John remembers the experience rather vividly, too. When I asked whether the struggling adventure park in the story reflected the difficulties of independent filmmaking, he admitted that, even if the parallel hadn't been intentional initially, it certainly became apparent during production. He recalled the crew wading through mud and sheltering under a gazebo while trying to get their shots. As he put it, it was "Definitely a case of life imitating art!"
And that's something audiences rarely get to see. We watch the finished film, admire the atmosphere and occasionally complain that a particular scene could have looked better. Meanwhile, behind the camera, someone has probably spent an entire afternoon figuring out how to make that scene happen without spending money the production simply doesn't have.
For Renato, that meant being incredibly careful about where every pound went. His approach was straightforward: "if it isn’t going to be seen (or felt) on screen, it has to fight much harder for the money." Rather than trying to make the production look expensive for the sake of it, the priority was investing in whatever genuinely improved the audience's experience.
John sees that independence from another perspective. As a writer and director, he considers artistic freedom essential and has always retained final cut of his films. He understands why major studios need greater control over projects involving enormous investments, but believes independent filmmakers should have the opportunity to develop their own voices. There may be fewer resources available, but there is also room for creative decisions that larger productions might be reluctant to make.
And in horror, that freedom can be particularly valuable. The genre has never needed enormous budgets to explore the things that disturb us. Sometimes a filmmaker's understanding of what frightens people can accomplish more than the most expensive special effect.
Which is especially unfortunate for me, considering what John and Renato decided to put at the centre of their film.
BEHIND THE PAINTED SMILE
There's something particularly disturbing about turning a figure associated with childhood entertainment into a horror villain. Clowns are supposed to make people laugh, after all. Yet somewhere along the way, cinema decided that oversized shoes, colourful costumes and painted smiles were actually the perfect ingredients for a nightmare. And considering my own relationship with clowns, I'm afraid I have to agree with that particular creative decision. Unfortunately for my peace of mind, filmmakers have become rather good at it.
But why are clowns so frightening in the first place? Interestingly, researchers at the University of South Wales investigated this very question in a study published in 2023. In an international survey of 987 people, 53.5% reported being afraid of clowns to at least some degree. Now, that doesn't mean half the world's population is secretly avoiding children's birthday parties, but it does suggest I'm far from alone. Further research with the participants who reported clown fear found that one of the strongest factors was our inability to read their facial expressions. Think about it: we're constantly looking at people's faces to understand their intentions, but a clown's painted smile can hide what they're actually feeling. Add their unpredictable behaviour, and suddenly the person who's supposed to entertain you becomes someone you can't quite trust. And cinema has certainly played its part in making that association stronger, something the researchers also identified. It's an interesting connection to The Psychology Behind Horror Movies, another article in this issue, where we explore why our brains respond to frightening images and why we continue seeking out experiences that scare us.
Apparently, there's an entire science behind my discomfort, although knowing that hasn't made the idea of encountering a clown in a dark corridor any more appealing. Or encountering any clown, really. It's embarrassing to admit, but even Ronald McDonald makes me uncomfortable.
When I asked John what inspired the terrifying figure at the centre of Charlie Shaw's Revenge, he mentioned a famous observation attributed to legendary horror actor Lon Chaney about how a clown who seems funny in a circus becomes frightening when encountered unexpectedly at midnight. And I think that captures something essential about horror: context can completely transform the way we perceive an otherwise familiar figure.
But the character's origins are also connected to Renato's rather unusual professional background. John explained that the idea developed after Renato mentioned a short film he'd previously made called Carnibal, featuring a cannibal clown. "To create Charlie Shaw, we wanted to ground him in the very real circus world," John told me. Renato's experience as a performer and trainer proved particularly valuable in bringing that authenticity to the character.
What interests me about Charlie Shaw's Revenge is that its horror isn't built entirely around the killer. The adventure park itself creates an atmosphere of unease long before the characters realise how much danger they're in.
These are ordinary people trying to keep a struggling business alive, already under pressure before their workplace becomes a nightmare. The colourful attractions that should represent excitement and happiness gradually become part of the threat, and the contrast makes the setting particularly unsettling. And while I'm fairly certain I would be the first person running towards the nearest exit, the film's characters don't have that luxury. Especially Marion, played by Cerys Knighton, whose journey takes the story into territory that I think deserves a little more attention.
NOT YOUR TYPICAL FINAL GIRL
One thing I've always found interesting about horror films is how quickly we decide which characters we want to survive. Sometimes, all it takes is five minutes of watching someone behave like a complete idiot for us to start rooting for the killer. But Charlie Shaw's Revenge takes a slightly different approach with Marion, played by Cerys Knighton.
As the manager of an adventure park that's already falling apart financially, she isn't exactly having the best time before the murders begin. She's demanding, frustrated and not particularly popular with her colleagues. And, according to John, that's precisely how he wanted her.
When developing Marion, John wanted audiences to have a complicated relationship with her. "We started off by making her as unlikeable as possible without alienating the audience," he explained. It's an interesting creative decision, particularly in a genre where female protagonists have historically been expected to behave a certain way to earn our sympathy.
As we explore in The Final Girl, another article in this issue, horror heroines have changed enormously over the years, and allowing women to be difficult, imperfect or even unpleasant is part of that evolution. Marion doesn't need to win a popularity contest before the audience can care about what happens to her.
And while John was busy putting his characters through hell, Renato had the rather complicated task of being both an actor and a producer. He explained that separating those responsibilities was essential, particularly because the temptation to solve production problems never really disappeared. His favourite acting moment came during a café sequence that eventually escalates into a frantic escape through the woods. For once, he could forget about the work happening behind the camera and simply concentrate on his performance.
I find that particularly interesting because it's easy to forget how many different responsibilities independent filmmakers sometimes take on. Renato wasn't just helping bring the film to life financially and practically; he was also part of the story unfolding on screen. And while he described the production as a close-knit team, with everyone supporting one another through difficult moments, that collaboration was essential to getting the film finished.
But completing an independent film is only part of the challenge. Once the cameras stop rolling and everyone finally gets to go home, preferably somewhere without murderous clowns, there's another problem waiting: how do you convince people to watch it?
LIGHTS, CAMERA… AND NOW WHAT?
Making an independent film is difficult enough. Getting people to actually watch it, however, might be an entirely different nightmare. According to the British Film Institute, UK independent films accounted for just 6.8% of the UK and Ireland box office in 2025. That's a rather small piece of the cinema-going audience, especially when you consider how many talented filmmakers are trying to get their stories onto the big screen.
Renato believes the biggest challenge facing independent cinema today isn't necessarily a lack of talent or ambition, but visibility. You can spend years developing a project, assemble an incredible team and create something you're genuinely proud of, only to discover that competing against the marketing budgets of major studios is an entirely different battle. And unfortunately, audiences can't fall in love with a film they don't even know exists.
For Charlie Shaw's Revenge, that meant finding another way forward. Renato explained that the team had always wanted a theatrical release, but the distribution offers they received didn't quite match their vision for the project. Instead of accepting a deal they weren't comfortable with, he decided to develop their own distribution route through Acting Moon, creating AM Theatrical.
Renato advices, their efforts secured approximately 150 screens across the UK, Pakistan and Colombia. It's a significant achievement for an independent production, but what makes it particularly interesting is that Renato didn't simply find a way to distribute his own film. He also created an opportunity for other independent filmmakers to bring their work to cinema audiences.
Film festivals have also played an important role in getting Charlie Shaw's Revenge noticed. The film has received several awards, including recognition at the London Independent Film Festival, where it won Best Horror Feature, alongside awards celebrating its visual effects and independent production. John believes festivals offer something that enormous marketing budgets can't necessarily buy: the opportunity for filmmakers to connect directly with their audiences.
Renato, however, is realistic about what those achievements can guarantee. "Awards aren't a magic switch," he told me. Recognition can attract attention and open doors, but it doesn't automatically translate into distribution deals or commercial success. There's still an enormous amount of work involved after the applause has finished, something audiences rarely think about when they see those award laurels decorating a film poster.
This is something we, as audiences, should think about more often. It's easy to complain that Hollywood keeps releasing the same stories, particularly when another familiar franchise announces its seventh instalment. But independent filmmakers are out there creating alternatives, sometimes taking risks that major studios would never consider commercially safe. Supporting those films doesn't necessarily require a grand gesture. Sometimes it begins with giving an unfamiliar title a chance instead of automatically choosing the one with the biggest advertising campaign.
James Payton in Charlie Shaw's Revenge (2026)
BEHIND EVERY SCREAM
There's another side of independent filmmaking that I think deserves more attention, and it has very little to do with money. We often talk about the director's vision or the actors bringing characters to life, but what about everyone else working behind the camera? Because, as much as we'd love to believe that a brilliant idea is enough to make a film, someone still has to figure out how to turn those ideas into something an audience can actually watch.
For Renato, one of the most rewarding parts of making Charlie Shaw's Revenge was the relationship between the people involved. The production worked with a smaller crew and welcomed students through college placements and partnerships, giving aspiring professionals the opportunity to experience filmmaking first-hand. "It might sound like a cliché, but it did feel like a family," he told me. He was quick to clarify that this didn't mean everything was perfect. It was the kind of family that supported one another when things became difficult.
What I found particularly interesting was how that trust translated into the practical side of filmmaking. Renato explained that working with a smaller crew meant communication was often faster, and decisions could be made without having to go through several layers of management. He even recalled moments when he and John would simply look at each other and know exactly what needed to happen next. "This is what it is, now let's solve it”. I rather love that attitude, especially considering how easily unexpected problems can derail a production. And for the students gaining their first experience on set, being part of that environment must have offered a valuable introduction to the realities of filmmaking. After all, there's only so much you can learn in a classroom before you have to experience what happens when the original plan stops working.
As someone currently working towards a career in acting, I find that particularly encouraging. Breaking into the entertainment industry can feel incredibly intimidating, especially when you don't have years of experience or an impressive collection of industry contacts. Opportunities to learn on a working film set can make an enormous difference, and smaller productions can offer valuable experiences to people who might otherwise struggle to get their foot through the door.
John also emphasised that filmmaking is a collaborative art form, even though he believes strongly in protecting his creative vision as a director. And that's an important distinction. Having a clear idea of the story you want to tell doesn't mean you have to tell it alone. In fact, Renato spoke so highly of his Heads of Department that he said he'd work with them again without hesitation.
It's easy to celebrate a film when it's finished, especially when it starts winning awards. But hearing how much trust went into making Charlie Shaw's Revenge reminded me that behind every successful production are people whose names we might not recognise, even though their work is right there on the screen.
Jessica Mann, James Payton, John Langridge, Kate Griffiths, Renato Pires, and Cerys Knighton at an event for Charlie Shaw's Revenge (2026)
ONE LAST THING BEFORE THE CREDITS
When I asked John what advice he would give to someone who dreams of becoming a filmmaker but feels they don't have enough money or connections to begin, his answer was surprisingly simple: "Just to start, that's it."
He encouraged aspiring filmmakers to experiment with short films, even if all they have available is a mobile phone.
Looking back at his own career, he wishes he'd spent more time experimenting and making films when he was younger.
It's interesting advice coming from someone who once thought Hollywood was impossibly far away from his childhood in England.
As someone who moved to another country to pursue a career in acting and writing, I can certainly relate to the feeling of having a dream that seems considerably bigger than your circumstances. And although making a film and writing about one are very different experiences, interviewing John and Renato has reminded me just how much work happens before an audience ever sees the finished result.
When I first started researching the film, I was particularly interested in understanding how an independent horror film comes to life. But hearing John and Renato's experiences made me realise how much happens beyond what we see on screen. There are talented people working incredibly hard to tell stories that might never have the marketing budgets or worldwide recognition of a Hollywood blockbuster, and I think those stories deserve our attention just as much.
So, the next time you're looking for something to watch, perhaps give an independent film a chance. You might discover a new favourite director, an actor you've not heard of yet or a story that stays with you long after the credits roll. And if Charlie Shaw's Revenge has caught your attention, we've included the trailer below, along with information on where you can find the film.
As for me, I'm genuinely looking forward to seeing what John and Renato create next. I'm just hoping their next project doesn't involve another murderous clown. Although, considering Renato's background in the circus, I probably shouldn't get my hopes up.
Charlie Shaw's Revenge is now making its way to audiences following its festival success, with screenings across selected UK cinemas.
You can find more information about the film, its cast and upcoming screenings on its official website, www.charlieshawsrevenge.com, and we've included the trailer here in the magazine, it's really rather good!
The Film Trailer to Charlie Shaw's Revenge.
