Strike is a 2024 English supernatural horror short film, written by Hendrik Harms and directed by Mark Patterson. When the lonely and isolated Francine is gifted a case of matches made in her controlling husband’s factory, she discovers that within the flames of each match resides the tortured soul of a deceased factory worker, cursed to appear with every strike.
Providing an adroit look at separation and forlornness, Strike takes an unusual approach to its horror. Where a supernatural element is usually the antagonistic role, the film flips this on its head—providing a comforting presence to the protagonist rather than a negative one. Indeed, the real threat to our main character resides in the living, the antagonistic role is solely taken up by her supposedly doting husband. While beginning as a man trying his best to care for his newly paralysed wife, the film soon calls into question his compassion. The tragedy is called into question more and more, soon becoming clear that it was no accident at all.

With amazing performances from the minuscule cast, each actor fully embraces their character as well as the period. However, the best performance comes from our supernatural entity, played by Amy Anderson, who gives an intrinsic visual performance throughout. Having no spoken dialog, her performance solely relies on visual relation—expressing herself expertly through physical acting.
While having very minimal effects throughout, what few are implemented is achieved through visual CGI. Though I’m personally not a fan of VFX, their limited use, and eminence certainly elevate this. Additionally, the ethereal smoke cloud of the specter’s appearance certainly isn’t something a small-budget production can easily produce by physical means.

A unique tale of vengeance from beyond the grave, Strike is an engrossing yet concise supernatural horror with a distinctive twist. With its notably refreshing narrative, fantastic performances, and impressive implementation of a limited budget, the film is a testament to independent filmmaking—providing an outstanding paranormal period horror.

More Film Festival Coverage
What did we get in the end? Constant pressure. Unmet expectations. Workhorses! All for a bunch of men that did not know what to do with us on the wrong… Heroin addict Charlie (George Webster) has been going to group therapy, though secretly showing up just to meet with his dealer. When a young woman joins the therapy session Charlie… My attraction to horror movies goes deeper than enjoying the dopamine rush that comes from a well-made, scary film. Horror movies can broaden our horizons by introducing audiences to new… From Cannes Palme D’or Winner Frida Kempf, Knocking marks the Swedish Filmmaker’s first foray into horror. Posing a dark tale of madness, the film captures the unease found in the… Every year horror fans are inundated with a slew of holiday-themed horror, with a select few becoming instant classics. Even at Fantastic Fest, where we caught There’s Something in The… There are movies that are sometimes too much even for the seasoned horror fan – for the 2012 version of myself, one such movie was the remake of William Lustig’s…Torn Hearts (2022) Film Review – Hagspoitation From the Other Side
God’s Petting You (2022) Film Review – Dark and Dirty British Comedy
T Blockers (2023) Film Review – Do You Come From A Land Down Under? [FrightFest]
Knocking Film Review – A Slow Decline Into Madness
There’s Something in The Barn (2023) Film Review – If You Give an Elf a Lutefisk [Fantastic Fest[
Night Caller (2021) Film Review – Meet the New Maniac

Hey there, I’m Jim and I’m located in London, UK. I am a Writer and Managing Director here at Grimoire of Horror. A lifelong love of horror and writing has led me down this rabbit hole, allowing me to meet many amazing people and experience some truly original artwork. I specialise in world cinema, manga/graphic novels, and video games but will sometime traverse into the unknown in search of adventure.
