Anna Hammill Talks Fear, Suspense, and the Supernatural in ‘Darby After Dark’

By Daisy Franklin for Film Daily

In the world of horror filmmaking, few voices stand out as uniquely as Anna Hammill’s. Known for her ability to weave spine-chilling narratives that delve into the supernatural and the psychological, Anna brings a fresh perspective to the genre. Her latest project, Darby After Dark, is a suspenseful short film that explores the thin line between curiosity and terror. The story follows Darby, a woman who receives a mysterious phone call from someone named Margaret, who introduces her to a seemingly innocent yet deeply unsettling paranormal game.

With a passion for championing underrepresented voices and creating complex female characters, Anna has carved out a space for herself in the male-dominated horror genre. Her storytelling is deeply rooted in her love for horror from a young age, drawing inspiration from both classic and modern horror films. In Darby After Dark, she continues her tradition of blending real-world tension with supernatural thrills, creating a haunting atmosphere that lingers long after the credits roll.

Dark tales await you

In this exclusive interview with Film Daily, Anna discusses the inspiration behind Darby After Dark, her approach to building suspense, and how her experiences as a female director shape her work in horror.

DF: Darby After Dark has such an intriguing premise. Can you tell us where the inspiration came from for this short horror film?

AH: The idea for Darby After Dark was born from my fascination with urban legends and paranormal games, especially the ones that feel like they could happen in any ordinary setting. I wanted to explore how a seemingly harmless phone call could evolve into something far more sinister. The concept of playing with the unknown, and the consequences of curiosity, really intrigued me, and I thought it would make for a suspenseful, contained horror story.

Mysterious voices beckon intrigue

DF: The logline teases a chilling phone call where Darby is introduced to a paranormal game. What can you tell us about the dynamic between Darby and the mysterious caller, Margaret?

AH: The relationship between Darby and Margaret is central to the film’s tension. Margaret presents herself as calm and almost playful, but there’s an underlying unease in her voice that keeps Darby—and the audience—on edge. Margaret guides Darby through the game in a way that makes you question her intentions. Is she simply trying to scare Darby, or is there something darker at play? That ambiguity is what makes their interaction so compelling.

DF: In Darby After Dark, Darby gets drawn into this game despite her initial hesitation. How do you balance that shift from curiosity to genuine fear?

Curiosity meets chilling truth

AH: That balance was key for us. Darby starts out like many of us would—skeptical but curious. The challenge was to show her gradual realization that what seemed like a harmless game is becoming terrifyingly real. We wanted to pace that tension so that the audience feels every step Darby takes, every doubt, and every escalating moment of fear. By the time Darby realizes she’s in over her head, it’s too late, and that’s where the horror really takes hold.

DF: As a female director in the horror genre, how do your personal experiences influence the themes you explore in your work?

AH: Horror is such a powerful genre for exploring personal and societal fears. As a woman, I’m drawn to stories that tap into deeper emotional and psychological layers—particularly themes of vulnerability, control, and resilience. I think there’s a unique strength in female characters that often goes untapped in horror. In Darby After Dark, Darby’s journey from curiosity to survival speaks to that complexity. I want my characters, especially the women, to feel real, nuanced, and relatable, even in the most surreal and terrifying situations.

Voices in the shadows

DF: You’ve mentioned before that you’re passionate about championing underrepresented voices in horror. How does that commitment shape your approach to filmmaking?

AH: I’ve always believed that horror is an ideal platform for underrepresented voices because it’s a genre that thrives on pushing boundaries and challenging norms. There’s so much room to tell stories that haven’t been told, to give a voice to experiences that have been overlooked. I try to bring that into my work by creating characters and narratives that reflect a broader spectrum of experiences. Horror is about fear, but it’s also about survival and strength, and I think those themes resonate across all walks of life.

DF: The supernatural element in Darby After Dark feels very grounded in reality. How did you approach the blending of real-world tension with the paranormal?

Everyday fears unfold here

AH: That was definitely something we focused on. For me, the most effective horror is the kind that feels like it could really happen. We wanted to root Darby’s world in a familiar reality—she’s just doing her job when this unsettling phone call disrupts her night. The paranormal aspect builds gradually, but it’s all woven into the fabric of her everyday life. By the time things start to spiral out of control, the supernatural feels inevitable, almost like a natural consequence of her choices. It’s that seamless transition from the ordinary to the extraordinary that I love playing with in horror.

DF: What’s next for you? Any upcoming projects we should look out for?

AH: I’m excited about a few projects in development that continue to explore themes of fear and the unknown.

Eerie whispers draw near

DF: We’re looking forward to it! Thank you so much for taking the time to chat with us, Anna. Darby After Dark sounds like a haunting, suspenseful experience, and we can’t wait to see it.

AH: Thank you, Daisy! I’m excited for audiences to see what we’ve created, and I hope it leaves them with a sense of unease long after the credits roll.

Catch Anna Hammill’s short horror film, Darby After Dark, coming soon to film festivals near you. Or on YouTube October 20th, 2024.