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// Premiere // "This conversation about abuse, and the horror of masculinity, is clear for programmers - and also for the audience. The message isn't swamped in the horror genre but supported by it."

@dimabarch shares the festival reaction to his powerful queer Russian horror short 'Dead End'. We also talk about working with acclaimed Russian actor @yantsapnik, immersing the viewer into the protagonist's headspace and being inspired by 'It Follows'.

Watch the film and read our full interview over at DN - LINK IN BIO ⏯️

// Credits //
A film by @dimabarch

Cast: @yantsapnik @svyatoslav_rogozhan @rdhnds_ Danil Chernov

Written and Directed by @dimabarch

Produced by @vladislavsevertsev

Executive producers: nejesus, @dimabarch

Cinematography by@pvlkrknv

Production design by @eli.tsk

Costume design by @505grrrl

Make-Up by @dinasul_fx

Stunt Directorby @sharoyko_igor

1AD: Alexander Bagdyunov

2AD: Valeria Volyando

3AD: ss.serebryakova

Production supervisors: @nastasia_malikova, @sinitsinamaria

1 AC: @true_shadaev

Gaffer: @xahakyc

Production Sound Mixer: @i.aleynikov

Boom Operator: @tauska_f

Music by @galactionoff

Edited by @frankiefrankagain, @dimabarch

Sound Mix: @turikinio & @varvara_belous

Color by misha.denisov.color

Titles design: @basentyn

#deadend #dimarbarch #WeAreDN #premiere #horror #lgbtq #comingout

I AM LITERALLY CRYING! 🥹
@dreadcentral, @ruemorguemag, it’s a dream to be named this way!

@beethekillerqueen, @mb.mcandrews, @finalgirlgrace, 💗💗💗

📸: @jonnjiss 🤓

I AM LITERALLY CRYING! 🥹
@dreadcentral, @ruemorguemag, it’s a dream to be named this way!

@beethekillerqueen, @mb.mcandrews, @finalgirlgrace, 💗💗💗

📸: @jonnjiss 🤓

🎳 And our teaser is out! 🎳

THE POWER OF THE STRIKE is about to hit @panicfilmfest, @salemhorror, and many more so soon!

@nathanwilliamstearns / @alittlebitalexlee / @gregobelau / @adams.family.films / @lazarevdaniel / @basentyn / @tomasroldan1993 / @sergeev_anatoly / @_vitalyzaytsev / @kapitolinaa / @insunoutmoon / @petrova4ever / @feel_twinkrew / @shvanew / @9vnv9 / @honey.mahoney / @milkyway_sfx / @nil_schlaflos / @unoriginal_alx / @miranda_squirrel / @turikinio / @varvara_belous / @rodyaaverianov / @pleurereme / @egod_damn / @kozhaev / @jonnjiss / @koljabolt / @goshakudrenko / @misha.denisov.color — this team is incredible!

@travisstevens, @adams.family.films, @finalgirlgrace, your genuine feedback, and so kind words keep me alive!

@carterbedloesmith, I can’timagine a better person to learn from. You become such an important part of my world, my mind. It’s a privilege to stick around.

And, of course, that’s the miracle to be featured by @dreadcentral! @mb.mcandrews & @beethekillerqueen, you’re simply the best!

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

it wasn’t that easy but this crazy kid made it through the 27 club. with some good people around.

@pleurereme live-performed one of the themes from The Power of the Strike and I’m beyond happy seeing this short clip, a tiny piece of our fucked up, chaotic imagination.

Was so proud to work with her and @rodyaaverianov on this small but absolute powerhouse of a film.

Can’t wait to bring the next chapter of my darkness into this world. It’s coming.

@pleurereme live-performed one of the themes from The Power of the Strike and I’m beyond happy seeing this short clip, a tiny piece of our fucked up, chaotic imagination.

Was so proud to work with her and @rodyaaverianov on this small but absolute powerhouse of a film.

Can’t wait to bring the next chapter of my darkness into this world. It’s coming.

@pleurereme live-performed one of the themes from The Power of the Strike and I’m beyond happy seeing this short clip, a tiny piece of our fucked up, chaotic imagination.

Was so proud to work with her and @rodyaaverianov on this small but absolute powerhouse of a film.

Can’t wait to bring the next chapter of my darkness into this world. It’s coming.

demons to some, angels to others… basically just fucking cool. thanks @whatszep for the listening party — unreal stuff. 🖤

demons to some, angels to others… basically just fucking cool. thanks @whatszep for the listening party — unreal stuff. 🖤

I am a witch — and every time I create, I cast a spell.
Dead End was bleak. Deeply unsettling. The Power of the Strike was macabre, decadent, gross… and fun.

And I can’t wait to show you what we’re making next.
It’s going to have eyeballs dropping.
Promise. Just wait.

I am a witch — and every time I create, I cast a spell.
Dead End was bleak. Deeply unsettling. The Power of the Strike was macabre, decadent, gross… and fun.

And I can’t wait to show you what we’re making next.
It’s going to have eyeballs dropping.
Promise. Just wait.

Yesterday I ran into a recording of The Good Person of Szechwan by Bertolt Brecht. I first saw it when I was 14, and it genuinely rewired how I think about directing, writing, art—life in general. No exaggeration. I went back to it obsessively after that.

My first attempts at directing were in theater, in Moscow. @lostempero and I had this scrappy underground college scene—chaotic, decadent, a little queer, very much us—just trying to figure out what our voices even were. I found these photos yesterday and couldn’t not share them.

My filmmaking is still deeply theatrical. I’m drawn to physical, lived-in performances, to precise blocking, to the tension between image and sound—how music cuts through a scene, how it reshapes it. I want people to feel my films. To touch the characters. To step inside the world. To crave the texture of it, almost in a bodily way.

I really believe there’s space for this kind of intensity—for work that doesn’t just ask you to observe like some detached voyeur, but pulls you in and makes you participate.

That’s the core of what I do. Whether it’s theater, film, or writing—it’s super uncomfortable, maybe even a little intimidating. But it’s honest. It’s alive. It’s meant to stay with you.

And when people actually connect with it—when they receive it—that’s what gives everything meaning for me. That’s what I’m chasing. That’s what I want to give back, even in this totally fucked-up world.

Yesterday I ran into a recording of The Good Person of Szechwan by Bertolt Brecht. I first saw it when I was 14, and it genuinely rewired how I think about directing, writing, art—life in general. No exaggeration. I went back to it obsessively after that.

My first attempts at directing were in theater, in Moscow. @lostempero and I had this scrappy underground college scene—chaotic, decadent, a little queer, very much us—just trying to figure out what our voices even were. I found these photos yesterday and couldn’t not share them.

My filmmaking is still deeply theatrical. I’m drawn to physical, lived-in performances, to precise blocking, to the tension between image and sound—how music cuts through a scene, how it reshapes it. I want people to feel my films. To touch the characters. To step inside the world. To crave the texture of it, almost in a bodily way.

I really believe there’s space for this kind of intensity—for work that doesn’t just ask you to observe like some detached voyeur, but pulls you in and makes you participate.

That’s the core of what I do. Whether it’s theater, film, or writing—it’s super uncomfortable, maybe even a little intimidating. But it’s honest. It’s alive. It’s meant to stay with you.

And when people actually connect with it—when they receive it—that’s what gives everything meaning for me. That’s what I’m chasing. That’s what I want to give back, even in this totally fucked-up world.

Yesterday I ran into a recording of The Good Person of Szechwan by Bertolt Brecht. I first saw it when I was 14, and it genuinely rewired how I think about directing, writing, art—life in general. No exaggeration. I went back to it obsessively after that.

My first attempts at directing were in theater, in Moscow. @lostempero and I had this scrappy underground college scene—chaotic, decadent, a little queer, very much us—just trying to figure out what our voices even were. I found these photos yesterday and couldn’t not share them.

My filmmaking is still deeply theatrical. I’m drawn to physical, lived-in performances, to precise blocking, to the tension between image and sound—how music cuts through a scene, how it reshapes it. I want people to feel my films. To touch the characters. To step inside the world. To crave the texture of it, almost in a bodily way.

I really believe there’s space for this kind of intensity—for work that doesn’t just ask you to observe like some detached voyeur, but pulls you in and makes you participate.

That’s the core of what I do. Whether it’s theater, film, or writing—it’s super uncomfortable, maybe even a little intimidating. But it’s honest. It’s alive. It’s meant to stay with you.

And when people actually connect with it—when they receive it—that’s what gives everything meaning for me. That’s what I’m chasing. That’s what I want to give back, even in this totally fucked-up world.

Yesterday I ran into a recording of The Good Person of Szechwan by Bertolt Brecht. I first saw it when I was 14, and it genuinely rewired how I think about directing, writing, art—life in general. No exaggeration. I went back to it obsessively after that.

My first attempts at directing were in theater, in Moscow. @lostempero and I had this scrappy underground college scene—chaotic, decadent, a little queer, very much us—just trying to figure out what our voices even were. I found these photos yesterday and couldn’t not share them.

My filmmaking is still deeply theatrical. I’m drawn to physical, lived-in performances, to precise blocking, to the tension between image and sound—how music cuts through a scene, how it reshapes it. I want people to feel my films. To touch the characters. To step inside the world. To crave the texture of it, almost in a bodily way.

I really believe there’s space for this kind of intensity—for work that doesn’t just ask you to observe like some detached voyeur, but pulls you in and makes you participate.

That’s the core of what I do. Whether it’s theater, film, or writing—it’s super uncomfortable, maybe even a little intimidating. But it’s honest. It’s alive. It’s meant to stay with you.

And when people actually connect with it—when they receive it—that’s what gives everything meaning for me. That’s what I’m chasing. That’s what I want to give back, even in this totally fucked-up world.

Yesterday I ran into a recording of The Good Person of Szechwan by Bertolt Brecht. I first saw it when I was 14, and it genuinely rewired how I think about directing, writing, art—life in general. No exaggeration. I went back to it obsessively after that.

My first attempts at directing were in theater, in Moscow. @lostempero and I had this scrappy underground college scene—chaotic, decadent, a little queer, very much us—just trying to figure out what our voices even were. I found these photos yesterday and couldn’t not share them.

My filmmaking is still deeply theatrical. I’m drawn to physical, lived-in performances, to precise blocking, to the tension between image and sound—how music cuts through a scene, how it reshapes it. I want people to feel my films. To touch the characters. To step inside the world. To crave the texture of it, almost in a bodily way.

I really believe there’s space for this kind of intensity—for work that doesn’t just ask you to observe like some detached voyeur, but pulls you in and makes you participate.

That’s the core of what I do. Whether it’s theater, film, or writing—it’s super uncomfortable, maybe even a little intimidating. But it’s honest. It’s alive. It’s meant to stay with you.

And when people actually connect with it—when they receive it—that’s what gives everything meaning for me. That’s what I’m chasing. That’s what I want to give back, even in this totally fucked-up world.

@emraimi & I are siblings in darkness — cute faces, feral fucked up hearts.

It’s me again — on 35mm — through the lens of my beloved friend @kade_online.

We’re constantly building ourselves: through the people we keep close, the places we wander into, the art we dare to create.

Lately, I’ve realized I’ve morphed into someone new. And honestly, I love who I’m becoming — and the souls I’m drawn to along the way. Even, or maybe especially, if that someone feels like a fallen angel.

And this fallen angel is fighting for a roll of 35mm to bring the next vision to life.

It’s cuming. I’m close. I can feel it. 😈💦

Dead End is crawling back one last time.

We’re screening it again at @cineloungefilm alongside a lineup of dangerously good short films. If you’re in the mood to feel a little wrecked, a little haunted, and maybe personally attacked, this one’s for you — a love-hate fever dream born from my breakup trauma and a beautifully unwell mind.

This film’s had its premiere at beloved @beyondfest, then faced such a big festival moment and refuses to die (as it should). So if you somehow missed it, this is your chance to experience it the way it deserves: loud, big, and slightly suffocating.

Pull up. Lurk. Say hi. And tell me what you think of this unhinged synth-soaked nightmare. 🏃🔫😈

A special shout-out to @danielcamerontalbott , @andrewklausvineyard and @felix__mack!!! 🖤

Dead End is crawling back one last time.

We’re screening it again at @cineloungefilm alongside a lineup of dangerously good short films. If you’re in the mood to feel a little wrecked, a little haunted, and maybe personally attacked, this one’s for you — a love-hate fever dream born from my breakup trauma and a beautifully unwell mind.

This film’s had its premiere at beloved @beyondfest, then faced such a big festival moment and refuses to die (as it should). So if you somehow missed it, this is your chance to experience it the way it deserves: loud, big, and slightly suffocating.

Pull up. Lurk. Say hi. And tell me what you think of this unhinged synth-soaked nightmare. 🏃🔫😈

A special shout-out to @danielcamerontalbott , @andrewklausvineyard and @felix__mack!!! 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤

It was SXSW of my heart.

I love everyone I saw and met. People and filmmaking are the only things keeping me alive. 🖤