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Like Comment Share is a breathless, iPhone-shot thriller about a house-sitting gig gone horribly wrong—unfolding entirely in a suffocating vertical frame that mirrors our endless scroll. Written, shot, and edited in just three days by writer-director Nick Noyes while traveling to LA, the film captures the frantic energy of its creation as Casey (AriaBryan) spirals into something far more terrifying than she—or her viewers—expected. Premiering at the NYC Halloween Film Festival and screening internationally, it’s a raw, unsettling portrait of social media obsession, where what’s outside the frame is often more disturbing than what’s in it.
Currently on its festival run, the film will be available online in October.
Fatal Harmony
Fatal Harmony lures you in with the crackle of snow, fading light, and the shimmer of a red sequin dress—grainy footage evoking the haunting elegance of 1960s horror classics while subverting their familiar rhythms. In this psychological descent, a once-famous pop star (Lena Kutscher) retreats to a remote cabin with her manager (MishaPerelmuter) to reclaim her voice, only to find inspiration demands more than she ever imagined. Blending eerie atmosphere, practical gore, and a haunting soundscape, the film explores the thin line between art and sacrifice, creation and madness.
Currently in post-production, Fatal Harmony begins its festival run in October.
Lights! Camera! Scream!
Filmmaking is chaos. But what if the chaos is the real horror?
Nick Noyes had a script. He had a cast and crew. Then, in a moment of inspiration—or madness—he sent a text: Wouldn’t it be funny if we made a behind-the-scenes documentary that tricked the audience into watching a found footage horror film? The more he thought about it, the clearer it became: this was the better film.
Lights! Camera! Scream! is a love letter to indie horror, a film that seamlessly blends ghosts, demons, time loops, and meta-horror into something utterly unpredictable. What begins as three friends making a low-budget horror film morphs into something else entirely—the footage twisting, the narrative folding in on itself, until the behind-the-scenes horror becomes the film itself.
Noyes leans into the belief that if a film isn’t going to be profound, it should be relentlessly fun—and Lights! Camera! Scream! is nothing if not a thrill ride. You’ll laugh, you’ll scream, you’ll spend the entire runtime bracing for what could possibly happen next.
Because in this film, anything can.
Currently in post-production, Lights! Camera! Scream! begins its festival run in October.
The Haunting Within
The Haunting Within begins with a woman (Shannon Sullivan) waking in her pajamas on an empty street—no memory, no direction, just the creeping sense that something is wrong. Directed by Megan Wynd, the film transforms the quiet side streets of Providence into a surreal purgatory, where time feels suspended and terror creeps in through the stillness. Minimalist and atmospheric, this mystery box thriller strips everything to its essentials, letting fear unfold in whispers rather than screams. With a haunting central performance and a tension that lingers, The Haunting Within invites you to sit with the questions it refuses to answer.
Currently in post-production, The Haunting Within begins its festival run in October.
You Lost Your Mind
You Lost Your Mind follows a girl (Charlotte Rose Benjamin) slipping through the city at night and into the life of her favorite influencer—trying on her clothes, her pills, her persona. The film blurs the lines between music video and psychological thriller, diving headfirst into the glossy delusion of early 2000s pop culture. Fueled by Handsome Ghost’s hypnotic track, it’s a high-energy descent into obsession, identity, and the ache for a life just out of reach—drenched in neon, dripping with desire, and impossible to look away from.
Call Me When You're Pulling Up
Call Me When You're Pulling Up looks like a lost horror film from the 1960s—grainy, quiet, and haunting—until its killer steps into frame: a life-sized phone mascot with a painted-on grin. Filmed in the snowy woods of Maine, the film stars Jessica Morgan as a woman sprinting through a winter nightmare, pursued by a ringing, grinning symbol of our digital dependency. This lo-fi slasher blends camp and dread to deliver a chilling punchline: maybe our we should be more afraid of our phones then we currently are.
Tonight Comes Round Again
A woman wakes up in the middle of the street, bathed in the glow of flickering streetlights. She runs. She doesn’t know why—only that she has to. And then it happens again. And again. Each time, the night feels different. Each time, she learns more. But will she ever make it to morning?
Directed by Megan Wynd, Tonight Comes Round Again is a reimagining of her film The Hauting Within, in the edit, Wynd and Nick Noyes saw an opportunity to create something entirely new. Leaning into the hypnotic repetition of the song, they wove together a looping narrative where time folds in on itself, revealing more with each cycle.
