By: Kelly Kearney
From acclaimed Canadian filmmaker Adam Azimov — known for his award-winning short Silent Cargo — comes Loud, a chilling aural nightmare that marks his return to the festival circuit. Screening as part of the horror and comedy-themed “Midnight Mash-up” at this year’s Tribeca Film Festival, the movie Loud is a visceral descent into sonic terror, where sound isn’t just heard — it possesses.
Turn it Up!
For a sleep-deprived, ambitious beatmaker (Shakira Barrera) clawing her way into L.A.’s underground music scene, sound is sacred — the purest form of expression, power and release. During a chaotic night an up-in-coming music producer records more than just party ambiance — she catches a scream, raw and guttural, that doesn’t seem human as it bleeds into the beats of her mind. In the studio she tries to mix the track that’s been spiraling in her head — a terrifying, infectious rhythm she is determined to weave into her soon-to-be hit track “Lighter.” Warping the beat, and reshaping her mind, that unearthly scream keeps pulling her deeper in and the more she plays it the more it plays her. As the line between inspiration and possession starts to blur, she realizes the scream isn’t just a sound — it’s a presence and it wants to be heard. It is a sound that possesses whoever hears it — driving people to the edge of madness. This is a song that could either make her career or end her life.
Sound is the Basis of Form and Shape
Director Adam Azimov’s masterful use of camera angles and shadow work builds an unsettling narrative that drags you to the very edge of fear—and dares you to look down. Loud was shot entirely in a pitch-black studio where the silence of the night makes room for the haunting and near piercing screams. Azimov sets the atmosphere from the moment that ghastly howl bleeds through the protagonist’s headset, signaling the start of something deeply unnatural. Loud, is what its title suggests, and the director (with the help of composer Didier Tovel-Sndwrx) makes it a point to turn the volume up and keep the viewers squirming in their seats.
As a possession film, this short wastes no time—it’s brutally effective in just under six minutes. With its imagery of demonic screams burrowing through ear canals and embedding themselves into the soft folds of the brain, the film delivers a relentless sensory assault that will have you cringing in ear pain almost as much as it makes you jump from scares. What begins as a haunting sound quickly morphs into a full-blown auditory nightmare, transforming a simple catchy song into a mind-blowing, pulse-pounding experience. It’s a cinematic rollercoaster that straddles the line between music and madness.
The performances – familiar, yet terrifying, lead us through this screamer of a short. Playing the unlucky producer, actress Shakira Barrera brings fierce determination to her role, showing an uncanny ability to block out the darkness and dial up the dread. Her presence anchors the chaos with a raw, magnetic energy. Meanwhile, James Earl as Mac the sound tech delivers an explosive turn—especially in the film’s standout moment. When the primal scream possesses the once-friendly studio tech turning him into a frightening unknown, what follows is a mind-blowing, hair-raising sequence that will leave you breathless with your mouth left open in awe.
Sync in to the Loud
Is Loud a must-watch? Absolutely – especially if you’re into possession stories with a pulse. With a killer beat and a symphonic twist, Azimov’s short film is a screamer in every sense of the word. It’s eerie, inventive and wickedly fun —a horror hit that demands to be heard and felt. With such a short run-time, there is no reason to miss it. Just pack your earplugs because this evil can drop a fiery beat.