Private Project

How to Be Lucky

A captive is manipulated by her narcissistic stalker/attacker — an attacker well-versed in corporate communication — and who happens to be an actual vampire. The vampire uses manipulative propaganda and threatening insinuations to compel her to remain. The film’s aesthetic is a psychological horror film referencing both American Psycho and the blood-red glow of the TED-talk stages.

Made with a budget of only $700, it was filmed in and around Hansville, WA on the Salish Sea. The narrative structure is inspired by Peter Greenaway’s “The Falls” and evokes the imagery of “The Parallax View” and “La Jetée”.

  • J. Fair
    Director
  • J. Fair
    Writer
  • J. Fair
    Producer
  • Project Type:
    Experimental, Feature
  • Genres:
    Horror, Art House
  • Runtime:
    1 hour 10 minutes
  • Completion Date:
    October 31, 2024
  • Production Budget:
    700 USD
  • Country of Origin:
    United States, United States
  • Country of Filming:
    United States, United States
  • Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Black & White and Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Distribution Information
  • Darkside Releasing
    Distributor
    Country: Canada
    Rights: All Rights
Director Biography - J. Fair

* Writer, Director & Producer of HOW TO BE LUCKY (art house horror, 2024, Darkside Releasing)
* Author of ONE MORNING (eco-folk horror novel forthcoming from Underland Press)
* Member, Horror Writers of America
* Member, Digital Academy of Arts and Sciences
* Webby-winning cartoonist

(jessicahagy.info)

Add Director Biography
Director Statement

My horror work explores what it is to be exiled, shunned, adrift, spellbound, and feral. That is, it speaks to the wild instincts we repress so that we might be allowed to participate in our brutally performative, modernly constructive culture. My pieces are casually spooky and flippantly dour. I suspect that a form of Lovecraftian horror lurks and festers inside every corporate boardroom.

My films (How to be Lucky and Doomstruck) investigate feelings of being both attached-to and adrift-in a culture that demands perpetual, performative conformity while offering nothing in return for that subservience of spirit. In both of them, feelings of absurdity infuse the fog of dread.