Take a chilling look behind the lens of Lake on the Cabin, where terror meets introspection, with HAUNTED CHARLIE HALL as your guide
I’ve always been a creative with a fascination for the paranormal and horror. In 2023, the universe led me down a new path — into the world of short filmmaking.
Naturally, I started out recording film sound, given my background in the music industry. I later branched out into other filming roles.
In 2024, I was ecstatic to be asked by producer Owain Rhys Dain to join the crew of Monster Club/Odd Pictures as Production Assistant on director Jem Karto’s award-winning short psychological horror film, Lake on the Cabin.
It’s a chilling story following fragile artist Eve as she retreats to a secluded wooden cabin by a mysterious lake.
As her artistic inspiration spirals into madness, she is forced to confront her deepest fears and a malevolent presence that lurks within—blurring the lines between reality and nightmare.
An intense concept with deep meaning, Jem and Owain gave great thought to every detail in the writing and making of the film.
Jem Karto said: “I’m fascinated by the stages of grief—how it manifests differently in people, and how, if you try to subvert or suppress it, it finds a way out somehow. The whole idea is that she’s trying to avoid and bury these feelings, and they come alive in the worst possible way. The inspiration behind the genre comes from Jordan Peele. I love his work and wanted to make an unsettling film—not necessarily a horror, but a psychological one that felt very much in his wheelhouse.”
Owain Rhys Dain said: “Lake on the Cabin dares to look inward, delving deep into the human psyche. While it carries a supernatural edge, it never strays too far from reality. I believe its very ambiguity is what makes it so compelling—leaving space for interpretation and inviting the audience to question what’s real, what’s illusion, and what’s hidden beneath the surface. At its heart, the film explores trauma, identity, and the isolating nature of fear and paranoia.”
Filming took place near Crawley, at a picturesque spot featuring a rustic lakeside wood cabin and jetty.
Despite the chilly January weather, we were all excited to get on set. Everyone embraced the cold, the darkness, and the muddy banks to shoot over three days and nights.
Owain said: “Visually, the cabin and lake became more than just a setting. They are reflections of Eve’s fractured reality—where unresolved wounds resurface and threaten to consume her. It’s both a psychological journey and a meditation on the masks we wear to conceal inner turmoil—and what can happen if we let those masks take over.”
There’s a mannequin in the film that belonged to Owain—she became known as our ‘Dolly Dain’. People must have thought we were bonkers at the petrol station en route to set, with Dolly belted in as a backseat passenger.
Jem really wanted a shot of her from across the lake, so Owain and I had to get her into position on the opposite side.
We each carried half of Dolly across the bridge. The moment we got off, we realised the ground was thick with sludgy mud.
Unprepared, we tried to trudge through and ended up like a comedy double act. Owain nearly fell over while trying to pull me out after my foot got stuck.
Dolly almost went flying when I finally freed myself—only to lose my trainer in the process.
Balancing on one leg, mannequin still in hand, I attempted to retrieve my shoe. As I slid my foot back in, the whole thing filled with mud and squished.
We ended up calf-deep in sludge, laughed loads, and finally got Dolly in place.
And as you’ll see—it was a killer shot. It was great fun.
The film is packed with meticulous visuals and cleverly planned shots meant to evoke strong reactions.
Several Easter eggs — deliberately hidden details—are tucked away in the background. So watch closely and don’t miss a thing.
Jem said: “My vision was very specific: slow camera movements, carefully composed frames—so that every time someone watches it, their eyes might catch something new. There are various components that shape the look and feel, and reflections are a prominent feature throughout. Whether it’s a painting of a butterfly that reflects its wings, or Eve talking to herself in the mirror, or even the ending—when we look into the car wing mirror and… something’s missing (no spoilers!). Reflections are important in terms of grief—how we either look inward or avoid our own gaze. These elements all intertwine.”
The film has been a resounding success, winning several awards and securing multiple festival screenings.
These include HorrorCon UK, the Unrestricted View Horror Film Fest, and official selection for the final Rob Knox London Film Festival.
This event, launched in 2009, honours the legacy of actor Rob Knox, who was tragically murdered in a knife attack shortly after appearing in Harry Potter and the Half-Blood Prince as Marcus Belby.
It was held at Picturehouse Central, Shaftesbury Avenue, in September 2025, and hosted by director Aaron Truss (Pareidolia, (K)nox: The Rob Knox Story).
Lake on the Cabin won the ‘Best Cinematography’ award, which was presented by legendary British horror illustrator Graham Humphreys.
Jem said: “I’m honoured to have won ‘Best Cinematography’. It wasn’t without its challenges, but I’m so proud of what our team achieved. It felt like going into battle over the three days of shooting. We were well prepared for the cold, but it was still a huge factor—especially as most filming took place at night during a frosty January. I think we achieved a visual tone that truly embodied the story.”
We were elated to have our film screened at such a renowned and important event as the Rob Knox Film Festival.
We had no idea we’d be receiving an award. When Graham announced our film’s name, we were thrilled — and I was so shocked I froze!
We all feel incredibly proud of what we created with Lake on the Cabin.
The team was amazing, and we’re overjoyed that our work is being appreciated.
It’s funny watching the film back after having been part of the crew—you see it through different eyes.
I remember crouching behind the sofa for one scene, hiding behind the door for another.
It’s all been such a wonderful, surreal experience—and I can’t wait to make our next film.
The story is open to interpretation.
And to anyone wanting to make their first film — you can do it.
And if you’re going through grief, know that you are strong, and you will get through it.
