Directed by Alice Maio Mackay (T-Blockers, Bad Girl Boogey, So Vam), who co-wrote the story with Benjamin Pahl Robinson, this film follows Lola (Jeremy Moineau), who returns home of Purdan for the holidays. It’s the first time she’s been back since she transitioned and the town may seem like it’s changed, but it’s also filled with secrets, like a killer known as the Toy Maker.

Lola is also an investigator and true crime podcaster, so when the murders hit a bit close to home, she’s on the case. Like all of Mackay’s movies, this has more LGBTQ+ representation than pretty much every mainstream movie this year put together. Also: who knew that Australian Christmas was in the summer?

I love that her town has changed to the point that her sister Danielle (Dominique Booth) is proud to take her out, that a former teacher is now a drag queen who runs a queer bar, that Lola is so capable and that this has a neon look that’s helped by taunt editing by Vera Drew (The People’s Joker’s). It’s just 70 minutes long and in that time, it tells a complete story, has a fair bit of red herrings and ends with a killer that makes sense.

Mackay is barely out of the teens and has made six movies already. Each has improved and grown more confident, making each film festival where I encounter one a joy. We can always use more seasonal slashers, sure, but we definitely need more filmmakers doing the work and expanding consciousness like Mackay.

I watched Carnage for Christmas at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.