The Australian filmed, set and produced Shed rips its story straight from a hellish playbook of worst nightmares and distressing realities, as we witness a collision of horror and unnerving trepidation. With all of the film's scenes of alarming intensity, it would be easy for writer and director Steven J. Mihaljevich to glaze over the events with a lurid, frenzied tone, but what propels Shed to be a true must-see is its overall sincerity that washes over every scene. No matter how gruesome or frightening its revelations may be, there is a provocative and complex undertone nestled within. Indeed, horror is at the forefront, but what remains steadfast is Shed's unique, candid, naturalist-esque take on a disturbingly moving tale. 

The thrilling Shed begins on Christmas Eve with an innocent action turned deadly as a game of hide and seek between siblings, Jayden (Travis Barrett) and Mia (Mani Shanks), sees the former lock his little sister in the shed. All alone, nestled in the dark, Mia shouts for someone to let her free out of the dingy shed; however, a tragedy in the form of a gruesome home invasion has struck the house, leaving the resilient Mia to fight for survival against the inconceivable odds. 

Shed continually toys with perspectives in the most unconventional of ways. Throughout the film, we remain loyal to Mia, spiritually standing alongside her amongst every horrific experience, all whilst knowing what happened to her family. Mia, on the other hand, is unaware of the sinister situation, consequently forging a deeply moving sense of pity and dread as Mia strives to escape what she believes to be worst case scenario. This immersion of complicity within the narrative involves us right into the heart, the deep core, of Shed, appreciatively imbuing a largely mishandled essence within horror - empathy. 

As brutal as it may be to admit, the characters written for young actors in cinema can often be contrived in their development, almost dare it be said, irritating. But Mihaljevich writes Mia as someone with a realistic vulnerability conjured by their situation, exasperating the film's emotive, highly charged tone. Naturally, demanding attention here is an applause of the performance by Shanks, who simultaneously portrays vulnerability and hardiness with an air of fluidity and ease. 

Christmas time has never been more brutal than in Shed's rendition of a happy family, quite literally torn apart, as the film traverses its various twists and turns. Which brings us to the film's valiant choice to, pardon the pun, flip the script, just at the point of peak immersion. Nevertheless, Shed nails this creative choice, delivering a chillingly intense narrative arc that not only displays some genuinely heartbreaking realities of Mia's predicament but also ramps up the ante to its fullest capacity. 

A feat not to be overlooked is the film's viciousness. Mia's predicament is crafted in such a way that captures both childhood innocence and fear. It's still a nail-biting affair, but there is something delicate about how it's handled, akin to that displayed in Lenny Abrahamson's Room (2015), to which Shed almost feels transiently connected through small touches. Nevertheless, the sombre affair of lonesome Mia prevailing against the odds is soon mercilessly splintered when both the viewer and this innocent young girl are bared a horrid and violent truth. Ensuring that spoilers are steered clear of, what is to be said about the pivotal second act of Shed is that Mihaljevich truly master's how to get under your skin. 

Last, but not least, is an ode to Shed's resident antagonist, Jason Robert Lester, who plays 'The Stranger', an overtly grotesque and monstrous man with a real, eerie bruteness, complementing the feisty but wide-eyed Mia. Following is Aussie genre favourite, John Jarratt, as 'The Travelling Man'. Jarratt, who is famed for his excellent performance as Wolf Creek's Mick Taylor, only makes a brief appearance, but even throughout his short screen time, he makes a lasting impression.  

Shed is a double-edged sword. It is incredibly heavy and daunting, brilliantly exhausting every emotive angle it can find, but not for one moment does the film ever seem anything less than sheer excitement as we witness Mia and her epic battle. 

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Come watch the premiere of the yule-tide fright, 'Shed', followed by a special screening of the cult classic 'Christmas Evil' (1980) as part of Dead Northern's 'Happy Horror-Days: Festive Pop-Up Cinema' on the 22nd December at 18:30PM.