By Mark Hockley
Josefine installs a bass box in her beat-up Volvo, hoping to impress Billy. When the powerful sound system draws the wrong kind of attention from an isolated old neighbour, their night of romance takes a terrifying turn.
A Sweden production and subtitled in English, this short film engages immediately with sharp writing and grounded performances. Director and writer Jakob Arevärn deserves credit for crafting a world that feels immediately authentic. The early scenes are particularly strong, offering a believable glimpse into the hopes and dynamics of its young characters.
Edith Vallo shines as Josefine, effortlessly conveying her character’s determined personality. She’s a compelling screen presence and there’s little doubt we’ll be seeing more of her in the future. Toft Svedjeland is also noteworthy as Billy, delivering a performance that’s quietly layered and emotionally credible. Given its brief 13 minute runtime, the film accomplishes a surprising amount in terms of character development.
The climactic sequence is set in a forest and centres on what is literally a ‘killer’ sound system. Unfortunately, this is not nearly as impressive as the setup. This central conceit undercuts the believability created during the opening scenes. While some viewers may find the over the top finale amusing, I was hoping for something a little more intelligent.
Despite reservations about the story’s resolution, the director’s talent behind the camera is undeniable. His ability to encourage naturalistic acting and create a visually polished short film is praiseworthy.
While I may not have really appreciated how this tale ultimately concludes, Jakob Arevärn is a promising film maker and one to watch.
Terror Night screened as part of the Midnight Mash-up program at the Tribeca Film Festival 2025.
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