Photo Courtesy of John Hession


Aimy In a Cage


Aimy in a Cage is a whimsical blending of a science fiction fairy-tale and an apocalyptic horror film. Set in an alternate reality, Aimy tells the story of a misunderstood teenage girl. Her conventional family, unable to tame her mischievous spirit, forces her to undergo a kind of mind dulling lobotomy, the effect of which proves more complicating than settling. Meanwhile, the Apollo Plague, a mysterious and deadly virus, begins to make the national news, slowly taking over life as the Micry family knows it. 

With lush cinematography and a challenging feminist infused narrative, Aimy in a Cage is unlike any other horror film in recent memory. While there are certainly traditional elements of the genre at play in the film (forced imprisonment, global plague), the narrative is less interested in creating a sense of impending doom and more focused on exploring how perceptions of sanity are dependent upon environment. The end result is a remarkable film that contextualizes adolescent female sexuality in a wholly original way.
— Horror Homeroom

                                             Set the Scene


Though there were a host of seasoned actors playing parts in this film, along with some tried and tested veteran crew members, it’s fair to say that there were more than a few newcomers to the industry involved, and we were no exception, but as the set began to take shape over the course of a mere 24 days, transforming the barren concrete mill space into the lavish and eccentric home of an alternate reality, we couldn’t help but feel some pride for our achievement. After all, this wasn’t simply our first feature film set; it was literally the first film set we had ever created. 

Though the set-build of Aimy in a Cage transpired within the lapse of 24 days, preproduction had begun nearly a year beforehand. Chloe, who wore many hats throughout the film, including Production Designer, Art Director, Costume Designer and Props Master, had begun flushing out the aesthetic months prior to construction, and I, shortly after, began working out the architecture with the film's creator, Hooroo Jackson. 

The Art Department's $55K budget included the set's construction materials, as well as all the set's stylistic interiors, along with over 150 practical props and over 150 wardrobe changes. The apartment set spanned nearly 2,500 sq. ft, utilizing "wild walls" that extended down its entire length. This made it possible to obtain those long, panning shots, end to end. The set, costumes and props are littered with subliminal messages, reflecting the mood of each character and scene.

Allisyn Ashley Arm may headline, and Crispin Glover’s name may sell tickets, but the real star of Aimy in a Cage is Chloe Barcelou, the production and costume designer. She creates an arresting world that looks like a post-apocalyptic “Pee Wee’s Playhouse.” Set in a single sprawling flat that recalls visual icons like Jeunet/Caro, Tim Burton, and even Peter Greenaway or a wacked-out Wes Anderson at times, the movie looks like a trippy graphic novel come to life
— 366 Weird Films
                                                    Photo's courtesy of Natalie Shmuel / Luna Rouge Pictures & John Hession
There is an unfair tendency of audiences to equate low budget with low production value but Aimy in a Cage shatters that myth with a visual flair that suggests a Hollywood style budget.
— Horror Homeroom

In character


I would go so far as to say the film’s production & costume designer, Chloe Barcelou, is the most visible star of the film, filling each scene with colour-drenched mise en scene and fantastical wardrobe, demanding a second or even third viewing to fully catalogue it all in our mind’s eye. Hair and make up match Barcelou in panache and invention.
— Urban Cinefile

                                                                          Photo's courtesy of Natalie Shmuel / Luna Rouge Pictures


                           "I Know Why the Caged Bird Sings"


                                                                        Photo's courtesy of Natalie Shmuel / Luna Rouge Pictures

It’s a film of arresting images, often surreal and fantastical, a visceral work that is void of physical violence, yet violent in other ways, absolutely committed to its creative chaos.
— Urban Cinefile