HorRHIFFic 2025: ‘Scopophobia’ Review
Stars: Catrin Jones, Bethany Williams-Potter, Emma Stacey, Ellen Jane-Thomas, Ioan Hefin, Steffan Cennydd, Nathan Sussex, Kevin McCurdy, Rhodri Miles | Written and Directed by Aled Owen
Scopophobia: The excessive fear of being seen in public, or stared at by others.
Scopophobia, aka The Mill Killers, is the feature debut from writer/director Aled Owen that explores the fear of being watched—both literally and metaphorically—through the lens of guilt, paranoia, and unresolved trauma, all wrapped up in a tense and atmospheric psychological horror film that lingers long after the credits roll.
The story follows Rhiannon (Catrin Jones) who is haunted by a tragic accident from her past. Along with her childhood friends Sam, Erin, and Mia, she returns to the now-abandoned steel mill (hence the new title for the film) where the incident took place. What starts as an attempt to find closure – and a hidden stash of money – quickly spirals into something far more sinister. As they navigate the decaying industrial setting, it becomes increasingly unclear whether they are truly alone or if their own guilt is turning against them.
One of the things that strikes you most about Scopophobia is the film’s visual style. Owen brilliantly uses black-and-white cinematography for the opening flashback, with striking splashes of red that make those moments feel all the more vivid. The steel mill itself is a fantastic setting and is something of a character in itself – rusted, cavernous, and filled with eerie shadows that feel like they hide the character’s anxieties (and eyes staring at the scopophobic Rhiannon – making the most of the industrial backdrop, creating a sense of claustrophobia that intensifies as the story unfolds.
Bethany Williams-Potter, who plays Rhiannon’s friend Sam, delivers a standout performance as the group’s reluctant leader, balancing warmth with growing unease – at the location and the situation. The overall dynamic between the friends feels especially authentic, even when long-buried tensions resurface. The friend’s relationship reminded me very much of the group in Neil Marshall’s The Descent in how both films explore the complexity of friendships under pressure.
Despite the great performances and atmosphere, the film’s pacing does suffer. There are moments where the film focuses too much on building the atmosphere and none of that pays off at times – a little tighter editing in the film’s midsection could easily improve things – upping the pacing and thus the tension. However, once the third act kicks in, Scopophobia delivers some genuinely unsettling moments and there a twists in the plot that honestly caught me off guard. The way the film plays with perception and paranoia is handled well… really ramping up the psychological horror, and making you question what is real and what is imagined.
For a debut feature, Scopophobia is an impressive effort. It’s a slow-burn horror film that leans into psychological dread rather than cheap scares, and while it stumbles slightly with pacing, ultimately it delivers a unique and unsettling experience – putting Aled Owen on the map as a filmmaker to watch, and I’m excited to see what he does next!
*** 3/5
Scopophobia screened as part of this year’s Romford Horror Film Festival on Sunday, March 2nd.
