Hounds of Love (film)

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Movie
German title Hounds of Love
Original title Hounds of Love
Country of production Australia
original language English
Publishing year 2016
length 108 minutes
Age rating FSK 16
Rod
Director Ben Young
script Ben Young
production Melissa Kelly
music Dan Luscombe
camera Michael McDermott
cut Merlin Eden
occupation
synchronization

Hounds of Love (cross-reference The Nightmare of A Teenage Girl - Hounds of Love ) is a 2016 Australian film directed by Ben Young who not only directed but also wrote the script. It is Young's directorial debut. The film deals with the kidnapping of the young Vicki Maloney, played by Ashleigh Cummings , by the White couple ( Emma Booth , Stephen Curry ). In Western Australian media it was published that the screenplay for the film has similarities with a real case, that of the Australian serial killer David Birnie , who in 1986 with the help of his wife Catherine killed four young women in a suburb of Perth and also referred to the deeds of the serial killer Eric Edgar Cooke prop.

Hounds of Love has been “showered with praise from critics and audiences” at various festivals. However, the premiere of the film in Venice was accompanied by a not inconsiderable number of people who felt so deterred and repelled by the topic that they refused to watch the film.

action

Vicki Maloney is an intelligent young woman of 17 years with charisma. Her parents' separation bothers her, as does the announcement from her mother, who has just moved out of home, that she wants a divorce. Vicki is chalking at her mother for simply abandoning her and her father Trevor, a surgeon who also has problems with this. Because her dad doesn't get along well with it either.

That weekend in December 1987, she visits her mother, who now lives in a suburb of Perth . After a violent argument between mother and daughter, Vicki sneaks out of the house to go to a party, although her mother has expressly forbidden her to do so. Since it is already late and Vicki is afraid of a long walk, after some hesitation she accepts the offer of a couple who seem to be very in love to take her for a while. Vicki gets in innocently and is also without suspicion when she is asked to come into the house, from where she can easily call a taxi.

The couple are John and Evelyn White. John puts on The Moody Blues song Nights in White Satin , turns the music up very loud and dances with his wife. Meanwhile, Vicki enjoys the drink offered to her and does not turn down the joint. The young woman only vaguely notices that she is suddenly very sleepy, and her attempt to get to the door also fails because her legs fail. When Vicki comes to, she finds herself on a bed that has been chained to her. Vicki quickly realizes that her nightmare began that night. At this point, however, she does not yet know that John White is a serial killer and that his partner Evelyn is a slave to him. Nor does she know that she is not the first girl that the couple has caught in their clutches. Fortunately, Vicki had no idea at this point that the Whites would keep their respective victims in the house for a certain period of time, rape, abuse and humiliate them, only to kill them and bury them in a wooded area near their home.

The couple ensures that Vicki has no way of escaping her captivity. Smart as she is, however, she quickly realizes that her ordeal should end with her death. At the same time, however, she also realizes that there is only one way to survive. She has to drive a wedge between the couple. In her plan, she benefits from the fact that Evelyn longs for her children who no longer live with her. So she tries to appeal to their mother's love and shows her that her children have probably been taken away because of John's violence. Her words have an effect, but when Vicki tries to escape, it goes wrong because Evelyn's dog strikes.

When John - contrary to his usual habit - spends more and more time with Vicki, Evelyn is afraid that he might get tired of her. How unpredictable he is and how helpless and dependent Evelyn is is shown in a gruesome act when he kicks Evelyn's dog until the abused animal is dead just because it defecated in the apartment. Evelyn does not intervene and abandons the faithful animal. It seems that Vicki accepts her fate after this cruel experience. Tormented and battered as she is, she begins to accept that her life will soon be over.

For Vicki's parents, however, the problems they have with each other take a back seat, only the search for their daughter is still the focus of their thinking. However, Maggie does not leave her husband in the dark about the fact that she will not come back to him. In fact, they come across a lead, but the police do not want to follow up on their leads. Vicki had to write a letter to her parents explaining that she had moved to Adelaide because of the separation. Vicki used some kind of secret code when writing the letter, which the parents were able to decipher with the help of Vicki's friend Jason. So they found out the address of the house in which Vicki thought she was trapped. Vicki's mother, Maggie, walks around the area calling and comes close to the house where the Whites actually live. And here Vicki also hears her mother's voice, and even if she still cannot tear herself away, she now refuses the voluntary suicide that she has demanded with rediscovered defiance and in the final escalation, the self-suppressed Evelyn turns against her murderous husband which gives the battered Vicki the no longer hoped for opportunity to flee and to run after her parents and friend, who are almost resigned again.

production

Production notes

Was produced Hounds of Love of Factor 30 Films, the distribution company is Indeed movie. The filming in western Australia lasted about 20 days. The film title Hounds of Love (German "blood dogs of love") refers to the canine love that binds Evelyn to John. The Variety wrote that the script was based not only on David Birnie, known as "The Moorhouse Murders," but also on Eric Edgar Cooke, infamous as "The Night Caller" .

background

Meagan Navarro of Modern Horrors spoke to Ashleigh Cummings, who plays Vicki Maloney, when the film was released. When asked how she got on the project, she replied that she was actually on a break from acting when the script reached her. As soon as she read it, she wanted to speak to the director and went to the audition because she was fascinated by the way he told stories, namely from the perspective of women. This is not your usual psychological thriller, especially with regard to the serial killer. Your trust in Young was there from the start. He then phoned her and offered her the role. She was also able to quickly build the trust required for such a film in Stephen (Curry) and Emma (Booth). Both are just so incredible people that it is amazing to see them on screen as a serial killer couple. Because both belonged to their favorite people and to the softest, most kindhearted people of all time. The film crew was exceptional anyway. Each and every one of them asked her again and again whether she was doing well, whether she needed a break, what the joint creative project had benefited from. There was a lot of heart involved.

When asked if there were any moments when she needed a break, Cummings replied, no, not on set. However, she remembers one scene after which she just couldn't stop shaking and crying. The situation in this scene seemed so realistic to her and she couldn't ignore the idea that there are people who would have to go through something like this in real life, even though this was usually the focus of her thinking. During this time, she meditated, went to the beach, and communicated a lot with her family and boyfriend.

When asked by Navarro how her family and friends had reacted to seeing her in the film, Cummings said none of them had seen the film yet. Even among her followers there are some who do not want to see this film. But her family will see the film because they know how proud they are of it and of Emma and Stephen and everyone involved. It is such an incredible project. What has been created here is exceptional and of artistic value.

When asked how she managed to strike the perfect balance between strength and vulnerability, Cummings replied that basically she went through the stages of grief and found that they had fitted into the story. She tried to color the different stages of grief in terms of denial, acceptance and other things. She had to be emotionally aware of what happened to her physically in every scene in order to know where Vicki was at the moment. She had to run differently if the film intended that she had taken drugs or for other reasons. What she loves about Vicki is that she is both strong and weak and at some point just gives up. Because in reality nobody would always be strong in such a situation, that would not have been reality.

Young's script was inspired by an estimated nine stories Ben read about. The people in the story are fictional like the story itself - but inspired by real events. When asked what was the biggest surprise for her from the experience, Cummings said she knew Ben (Young) was phenomenal, she just knew it - the moment she met him at the audition . When she saw the film for the first time with its cool shots, which she didn't even know existed, she was really surprised. Young just created another layer for the story. His originality and his visions are really unique. To see the scenes of Emma and Stephen for the first time that she was not involved in would have been phenomenal.

Film music

At the end of the film, the song Atmosphere by Joy Division is heard , which strongly contradicts the theme of the film. In addition to Division and The Moody Blues , music by Cat Stevens (Lady D'Arbanville) , Air Supply (Just As I Am) and Nick Cave ( The Boys Next Door ) can also be heard, as well as the song Strong Independent Woman . The 1985 hit by Kate Bush, Hounds of Love , which gave the film its title, cannot be heard. The rights for that were too expensive. Hounds of Love is set to music by Dan Luscombe from the Australian rock band The Drones. On the film page it says: "A haunting score of strong electronic ambient noise that perfectly accompanies the aesthetics of the film."

synchronization

The synchronization was done by Metz-Neun Synchron Studio- und Verlags GmbH,
dialogue book: Verena Ludwig, dialogue director: Johannes Ott.

reception

Festivals or publications

The film was shown at the following international film festivals.

  • Venice International Film Festival in Italy on September 1st, 2016
  • Busan International Film Festival in South Korea on October 7, 2016
  • Gothenburg International Film Festival in Sweden on January 27, 2017
  • Glasgow Fright Fest in the UK on February 25th 2017
  • South by Southwest Film Festival in Austin, Texas in the United States on March 11, 2017
  • Beaune Film Festival in France on March 30, 2017
  • Lyon Festival Hallucinations Collectives in France on April 16, 2017
  • Imagine Film Festival in the Netherlands on April 16, 2017
  • Tribeca Film Festival in the US on April 20, 2017
  • The Overlook Film Festival in the US on April 28, 2017
  • Munich Film Festival in Germany on June 23, 2017
  • Karlovy Vary International Film Festival in Czech Republic on June 30, 2017
  • Taipei Film Festival in Taiwan on July 5, 2017
  • New Horizons Film Festival in Poland on August 9, 2017
  • Motelex - Lisbon International Horror Film Festival in Portugal on September 7, 2017
  • Splat! Film Fest in Poland on September 15, 2017
  • Morbido Film Fest in Mexico on October 29, 2017
  • Ljubljana International Film Festival in Slovenia on November 13, 2017
  • Molins Film Festival in Spain on November 14, 2017
  • Camerimage Film Festival in Poland on November 18, 2017
  • Blood Window Fest in Argentina on March 31, 2018

In the United States, the film was released on the Internet on May 12, 2017, and appeared in a limited edition at the same time. The film was first seen in Australia on June 1, 2017, in France, the United Kingdom and Ireland it was released in July 2017, in Norway it was released on DVD in December 2017, in Sweden it was released in December 2017 and in Japan published in February 2018. It was published in Italy in April 2018. It was also published under the title Predadores do Amor in Brazil, under the title Хрътките на любовта (Khrŭtkite na lyubovta) in Bulgaria, under the title Farkasnász in Hungary, under the original title in India, under the Title Ogary miłości in Poland, under the title Tortura in Romania, under the title Гончие любви (Gonchiye lyubvi) in Russia, under the original title in Spain, under the title Av Köpekleri in Turkey and under the title Гончаки кохання (Honchaky kokhannya) in Of Ukraine.

In Germany, Hounds of Love was released on DVD and Blu-ray by Alive on October 20, 2017.

criticism

On the Rottentomatoes page, the tomatometer achieved 88 percent approval with 97 counted reviews, the audience score with 2,004 counted reviews was 69 percent approval. Critic consensus: " Hounds of Love is intelligently constructed and powerfully staged and satisfies as a psychological thriller with a few nasty surprises - and marks the author and director Ben Young as a promising talent."

What almost all reviews have in common is the recognition given to Ben Young's first work and the praise for the portrayal of Evelyn White by Emma Booth. Likewise, the performance of Ashleigh Cummings as the victim Vicki and that of Stephen Curry as the perpetrator are highlighted in almost all reviews. 100 Years of Terror said that Booth had "also the hardest task, in that it had to portray Evelyn's conflict accordingly", which she had "mastered well". Susan Leighton writes on page 1428 Elm that Ashleigh Cummings is the kind of actress who makes you forget you're watching a movie. Emma Booth breathes life into the soul of an otherwise unsympathetic woman [...], Stephen Curry in his role as John White brings out the real threat in his soul through his calm intensity. As a psychopathic kidnapper, he is absolutely convincing. "Memorable performance by Emma Booth" (A Sliver of Film) "Excellent performances by the leading actors, especially Booth [...]" (A Film Life) "Flawlessly played by Stephen Curry and former teen model Emma Booth." [...] "Curry and Booth carry the film on their shoulders." (Always Good Movies) Ashleigh Cummings: "Absolutely credible and terrifyingly authentic". Stephen Curry and Emma Booth: "intense and shocking, extremely convincing". (SofaHelden.de) Ashleigh Cummings: "Is it without a doubt Cummings' portrayal of the imaginative and persistent young heroine that makes the audience stick to the screen" [...] "Ben Young offers a rarity: a complete package that comes close to a perfect film . ” (ScreenAnarchy) The three actors standing in the center of the film are“ dazzlingly brilliant ”. [...] "Cummings is sensational as Vicki, who was severely tortured." Emily Booth's Evelyn is also of the highest quality. [...] "Stephen Curry is absolutely more terrifying than the unpredictable kidnapper John." [...] Ben Young's debut is gripping, dark, violent, terrifying and totally captivating from the start. (The Hollywood News)

Thomas Badtke said that at a certain point the audience noticed that the plot of the film was taking a "decisive turn". "Vicki's suffering" takes a back seat, the relationship between John and Evelyn comes to the fore. Young tries to explain how Evelyn can become "the assistant of a serial killer". One “clue” is that she “experienced violence herself in a previous relationship” from which she was then freed by John:

“The answers are provided by 'Hounds of Love' in the last few tense minutes - in moving images and to the sounds of Joy Division. Beautiful and absolutely contradicting the theme of the film. That, in turn, is typically Australian. The horror films from 'down under' are usually rock hard as 'The Loved Ones' or the 'Wolf Creek' series prove. They are therefore not for everyone, which should also apply to 'Hounds of Love'. "

- Thomas Badtke : n-tv , October 30, 2017

Sophie Charlotte Rieger stated that there was one thing she could say in advance that she would “never watch this film again. And yet ”“ she liked it ”. The killer John White is "only a marginal figure in this disturbing film about deprivation of liberty and rape". […] “In the center” would be “three women: John's partner Evelyn […], their prisoner Vicky […] and their mother Maggie” […]. 'Hounds of Love' is "a film about power, solidarity and emancipation". [...] "Don't give up, believe in yourself, fight, defend yourself - that [is] the emancipatory message of this film".

“This end gives hope. And that's important! Because where there is no hope, there is no strength. And struggles for freedom can only be fought and won where there is strength. "

- Sophie Charlotte Rieger : Film Löwin, June 28, 2017

The Variety spoke of a "dynamic thriller" whose "intrepid audience will be rewarded". The music magazine Rolling Stone was of the opinion that "perfect true crime horror in Sweet Spot" is offered. The Austin Chronicle praised the film for “radically redefining an entire genre”. In the We Got This Covered was to read, "Emma Booth and Stephen Curry had in their roles amazing". Matt Domato said that if all films in this genre were like this, he'd be a bigger fan. Hounds of Love cultivate an invasive performance, shake the nerves and let the audience bite their nails to the cuticle without realizing it. Modern Horrors wrote: "Excellent, brutal, breathless". Total Film thought: "Impressive". The opinion at the Fantasy Filmfest was: "Shocking". For Dailey Dead the film was "an unforgettable film experience". It was also said that the film was “profound and moving”, “intense and convincing”, “unbelievable in execution”, that it was “brilliant, intelligent cinema” and a “devastating Australian horror thriller”.

In the British newspaper The Guardian Luke Buckmaster dealt with the film, gave him four out of five stars and wrote: "The most intense and scariest film of the year, a wild and frightening tale of suburban sick and undoubtedly the scariest movie" that one ever have seen. 'Hounds of Love' is The Murders of Snowtown meets Natural Born Killers with a hazy lounge atmosphere and a putrid and foul-smelling psychological energy that sticks like an immovable fantasy or a bad rash. Young has given a genre that is often concerned with cheap thrills a fresh and meaningful touch. Buckmaster said that after seeing the film, he asked himself whether the director should be locked up or declared a genius and decided on the latter. But any recommendation to watch Hounds of Love must come with some caveats. The film is not for the faint of heart and not for the faint of heart.

Ben Kenigsberg was one of the few critics who rated the film rather negatively. He wrote in the New York Times that Ben Young's feature film debut was tense and tough. The main problem, however, is the fundamental question, "Why are we watching this?" There are some indications that the filmmakers took a morbid pleasure in directing this footage, chaining them to the bed and watching Vicki turn to Nights in White Satin winds. At best, the film examines the relationship between Evelyn and Vicki.

Christoph Petersen rated the film four out of five stars for the Filmstarts editorial team and stated that “the morbid fascination for serial killers” was “unbroken (and it will probably always be)”. After the fear that “voyeurism” was in the foreground, “Hounds of Love” quickly turns out to be “a demanding, sophisticated and unexpected psychogram of two characters who never meet directly in the film”. Ben Young held "half of the season his camera felt solely on Emma Booth's face [...]," which one "cannot blame" him for. "The actress" delivers "such an abysmal and true acting tour de force that you just can't get enough of her face, which has been transformed almost beyond recognition, with the increasingly desperate tiny eyes". “A character that is not nearly as fascinating (but grandiose played)” is “Maggie Maloney”. Petersen's conclusion is: “Atmospherically staged, psychologically sophisticated and, towards the end, mega-exciting serial killer film with an extraordinary focus. With his directorial debut, Ben Young is definitely recommended for further tasks and Emma Booth in the role of the apparently completely broken wife of the serial offender is nothing less than an acting event. "

Marcel Demuth from Filmchecker warned that the film was “tough stuff” - but “excellently played and shockingly filmed”, a “hard to digest material that you don't even see by the way”. “Actually” is “the psychodrama staged by Ben Young at a high level” and “therefore stands out from the usual indie consorts that are otherwise presented in the horror area”. Demuth also praised Emma Booth, who delivered a "brilliant performance". Ben Young builds up "subtle tensions between his anti-heroes that ultimately lead to disaster". Even “if there is not much violence shown”, “the events in the film are hard to see”. Here "head cinema is celebrated at its best". Ben Young conjures up "maximum discomfort with few resources" and allows "characters and spectators to push their limits". "First someone has to imitate him". 'Hounds of Love' is “a good example of the fact that genre films that are worth seeing don't necessarily need showmanship, explicit violence and special effects. Experienced acting and a well thought-out script “are everything. Demuth wrote: "We take off our hats."

Jessica Kiang wrote in The Playlist that it was a David Lynch world that Ben Young was showing and that the director was a child of Lynch in this regard. Unlike this one, however, no idyll with white picket fences, behind which depravity is hidden, is shown. The monsters who call home a dirty prosaic place become even more monstrous because they are so mundane. That is lynch perversity that does not come from heightened reality, but from reality that comes out of the gutter. Young's style is not that graphic, but very suggestive, which is also very good. Cummings and Curry are great in their roles (with Curry being miles away from the roles he's played before). But the hardest role is played by Booth. And she indulges in it, admitting Evelyn both as a self-destructively delusional victim of domestic abuse and as a dangerously deviant psychopath. The film is also a demonstration of Young's extraordinary understanding of how tension-based storytelling works. Although the film is confident, it ensures that the audience can never feel safe and maintains a remarkable ambivalence almost to the last heartbeat.

On the Hard: Line Kino extreme page it is said that “every year” there is this film “that breaks the boundaries of the genre”. “Who tied us to the edge of the cinema chair as if hypnotized” and made us “incapable” of “even making one more movement”. “'Hounds of Love'” is “this movie”. In “stoic calm” he told “a true story of two serial killers” and “set a milestone for the genre with playful ease. Comparisons? No, that "doesn't do justice to" this tough and enigmatic thriller! "And finally:" Ben Young's directorial debut has to be seen! "

The film service wrote that "the profound helplessness and bizarre everydayness of its tormentors would set Ben Young's intense debut apart from the usual serial killer films." It was further stated: “The identification with the panicked, abused kidnapping victim is relentlessly pushed forward in a confined space, the normality of the outside world is hardly less shocking: In slow motion, Young captures the closely glued houses, the uniformity of which corresponds to the residents that the horror in just don't want to see their neighborhood. "

Awards

The film received 18 awards and was nominated for 26.
- Awards received -

  • 2016: Venice International Film Festival :
    Fedeora Award for Ashleigh Cummings in the category "Best Actress in a Debut Film"
  • 2016: Brussels International Film Festival
    Grand Prix for Ben Young in the category "Best Director" and for Emma Booth in the category "Best Actress"
  • 2017: ATOM Awards (Australian Teachers of Media Awards):
    Atom Award for Melissa Kelly, Ben Young and Factor 30 Films in the "Best Feature Film" category
  • 2017: Molins Film Festival,
    Audience Award for Ben Young in the "Best Film" category,
    Jury Prize for Emma Booth in the "Best Actress" category and Ben Young in the "Best Screenplay" category
  • 2017: Australian Cinematographers Society
    SA & WA Gold Award for Michael McDermott and Factor 30 Films in the "Feature Film" category
  • 2017: Australian Academy of Cinema and Television Arts (AACTA) Awards
    AACTA Award for Emma Booth in the category "Best Actress"
  • 2017 and 2018: Film Critics Circle of Australia Awards,
    FCCA Award for Susie Porter and Fator 30 Films in the category “Best Supporting Actress”,
    FCCA Award for Stephen Curry and Factor 30 Films in the category “Best Actor”,
    FCCA Award for Emma Booth in the Category "Best Actress",
    FCCA Award for Susie Porter in the category "Best Actress in a Supporting Role"
  • 2018: Ozflix Independent Film Awards:
    Jury Prize for Melissa Kelly in the category "Best Film Under Two Million Dollars" and
    Clayton Jauncey in the category "Best Equipment in a Production"
  • 2018: CinEuphoria Awards
    CinEuphoria for Ben Young in the category "Top 10 of the year international"
  • 2018: Australian Film Critics Association Awards
    AFCA Award for Emma Booth in the "Best Actress" category and in the "Best Film" category

- Nominations -

  • 2017: Transilvania International Film Festival
    Nominated for the Transilvania Trophy: Ben Young in the category "Best Film"
  • 2017: Phoenix Critics Circle
    Nominated for the PCC Award in the "Best Horror Film" category
  • 2017: Munich Film Festival
    Nominated for the CineVision Award Ben Young in the category "Best Film by an Aspiring Director"
  • 2017: Molins Film Festival
    Nominated for the jury's award: Ben Young in the "Best Film" category
  • 2017: Casting Guild of Australia Awards
    Nominated for the CGA Award: Anousha Zarkesh in the category "Best Cast in a Feature Film"
  • 2017: Boston Underground Film Festival
    Nominated for the Audience Award: Ben Young in the category "Best Feature Film"
  • 2017: Australian Directors Guild Awards
    Nominated for the ADG Award: Ben Young in the category "Best Director in a Feature Film"
  • 2017: Australian Academy of Cinema and Television Arts (AACTA) Awards - Nominees:
    Ben Young ("Best Director"), Susie Porter ("Best Supporting Actress"), Michael McDermott ("Best Cinematography"), Melissa Kelly ("Best Film" ), Stephen Curry ("Best Actor"), Merlin Eden ("Best Editing"), Ben Young ("Best Original Screenplay"), Hayley Atherton and Kate Anderson ("Best Hair Styling and Make-up")
  • 2018: Australian Film Critics Association Awards
    Nominated for the AFCA Award: Ben Young ("Best Director" and "Best Screenplay"), Stephen Curry ("Best Actor"), Ashleigh Cummings ("Best Actress")
  • 2018: Film Critics Circle of Australia Awards
    Nominees for the FCCA Award: Melissa Kelly and Factor 30 Films in the category "Best Picture", Michael McDermott in the category "Best Cinematography", Ben Young in the category "Best Screenplay", Merlin Eden in the "Best Pattern" category
  • 2018: Ozflix Independent Film Awards
    Nominees for Jury Award: Ashleigh Cummings ("Best Actress"), Ben Young ("Best Screenplay"), Michael McDermott ("Best Cinematography")

Web links

Individual evidence

  1. ^ Certificate of Release for Hounds of Love . Voluntary self-regulation of the film industry (PDF). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
  2. ↑ a b Ben Kenigsberg: Review: "Hounds of Love" Is Tense and Deadly Down Under
    In: The New York Times , May 11, 2017 (English). Retrieved March 3, 2020.
  3. ^ A b c Eddie Cockrell: Venice Film Review: "Hounds of Love"
    In: Variety , September 1, 2016 (English). Retrieved March 3, 2020.
  4. ^ A b c David Rooney: "Hounds of Love": Venice Review
    In: The Hollywood Reporter , September 2, 2016 (English). Retrieved March 3, 2020.
  5. ↑ a b Marcel Demuth: Film
    review     “Hounds of Love” (2016) see page filmchecker.wordpress.com. Retrieved March 3, 2020.
  6. ↑ Hounds of Love see page kinofilmwelt.de
  7. ↑ Hounds of Love see page moviepilot.de
  8. ↑ a b c d e f Meagan Navarro: Q&A: Actress Ashleigh Cummings talks "Hounds of Love"
    see page modernhorrors.com (English). Retrieved March 3, 2020.
  9. ↑ Hounds of Love Soundtrack Teaser see page houndsoflovemovie.com (English)
  10. ^ Hounds of Love in the German dubbing index
  11. ↑ Hounds of Love. In: moviepilot.de. Retrieved April 26, 2019 .
  12. ↑ Hounds of Love Fig. DVD case (pictured: Ashleigh Cummings)
  13. ↑ Hounds of Love see page rottentomatoes.com (English). Retrieved March 3, 2020.
  14. ↑ Hounds of Love (2016) by Ben Young see page yearsofterror.eu. Retrieved March 3, 2020.
  15. ↑ Susan Leighton: Hounds of Love review: Psychologically intense journey into the dark
    see page 1428elm.com (English). Retrieved March 3, 2020.
  16. ↑ Film No. 353 The Hounds of Love see page asliveroffilm.blogspot.com (English). Retrieved March 3, 2020.
  17. ↑ Hounds of Love see page afilmlife.com (English). Retrieved March 3, 2020.
  18. ↑ Hounds of Love (2016) see page alwaysgoodmovies.com (English). Retrieved March 3, 2020.
  19. ↑ Hounds of Love see page sofahelden.com. Retrieved March 3, 2020.
  20. ↑ Tom Kiesecoms: "SXSW 2017 Review:" Hounds of Love ", a Beast with a Ferocious Bite"
    see page screenanarchy.com (English). Retrieved March 3, 2020.
  21. ↑ Paul Heath: Transilvania 2017: Hounds of Love Review: Dir. Ben Young
    In: The Hollywood News, June 7, 2017 (English). Retrieved March 3, 2020.
  22. ↑ Hounds of Love: Bloody stitches in the heart . Retrieved March 3, 2020.
  23. ↑ FFMUC 2017: Hounds of Love - Sexualized Violence and Emancipation . Retrieved March 3, 2020.
  24. ↑ Marc Savlov: Hounds of Love In: ChronEvents, May 12, 2017 (English). Retrieved March 3, 2020.
  25. ↑ Matt Domato: Hounds of Love Review see page wegotthiscovered.com (English). Retrieved March 3, 2020.
  26. ↑ a b Hounds of Love - Uncut see page filme.de. Retrieved March 3, 2020.
  27. ↑ Hounds of Love film trailer on the IMDb website. Retrieved March 3, 2020.
  28. ↑ Hounds of Love They're Calling see poster in IMDb (English)
  29. ↑ Luke Buckmaster: Hounds of Love review - savagely intense Australian horror is the scariest film of the year
    In: The Guardian , May 23, 2017 (English). Retrieved March 3, 2020.
  30. ↑ Christoph Petersen: Hounds of Love see page filmstarts.de (including the original trailer). Retrieved March 3, 2020.
  31. ↑ Jessica Kiang: Tense, Nasty "Hounds of Love" Is An Eyecatiching Debut (Venice Review)
    see page theplaylist.net, September 11, 2016 (English). Retrieved March 3, 2020.
  32. ↑ Hounds of Love see page hardline-festival.de. Retrieved March 3, 2020.
  33. ↑ Hounds of Love. In: Lexicon of International Films . Film service , accessed March 3, 2020 .Template: LdiF / Maintenance / Access used 
  34. ↑ Hounds of Love. In: the IMDb.com. Retrieved April 26, 2019 .