Indie genre distributor The Horror Collective has acquired worldwide rights to “213 Bones,” the well-received throwback slasher steeped in ’90s nostalgia.
The label is owned by Shaked Berenson’s Studio Dome, a multi-platform distribution company that will also sell global territory rights to the project at next month’s Cannes Film Festival. The Horror Collective will release the film in the United States.
Set in 1993, the movie follows a group of college students in the Pacific Northwest who find themselves targeted by a masked killer as a series of brutal murders unfolds. As suspicion spreads and tensions rise, the survivors are forced to uncover the killer’s identity before they become the next victims.
A love letter to a wave of teen-centered films like “Scream,” “I Know What You Did Last Summer” and “Urban Legend,” the project leans into ensemble-driven storytelling, a central mystery and stylized kill sequences. It also boasts a soundtrack of recognizable ’90s and alternative-era tracks from artists including Chris Cornell, Soundgarden, The Jesus and Mary Chain, and the Melvins.
The cast includes Luna Fujimoto (“Blade of the 47 Ronin,” “Sniper: G.R.I.T.”), Hunter Nance, Colin Egglesfield (“Something Borrowed”), Dean Cameron (“Summer School”), Liam Woodrum (“Geek Girl”), Toni Weiss and Frances Barker McCormick (“Wonder Man”) alongside a younger ensemble that leans into classic slasher archetypes.
The project is directed by the late Jeffrey Primm, a lifelong film and horror fan who had long set out to make a feature in the genre. He passed away shortly after completion.
“’213 Bones’ delivers exactly what the international market responds to in this space, a clear concept, a strong ensemble, and a defined slasher identity that travels,” said Berenson. “It’s a clean, commercial genre package with enough personality to stand out.”
The deal was negotiated by J. A. Ted Baer and John Michaels on behalf of the producers. The film’s masked killer was designed by Jason Baker, whose recent credits include “The Black Phone” and “Terrifier 3,” giving the project a distinctive visual identity anchored by a memorable and marketable mask.
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