The Void is a mind-bending, disturbing horror film that blends elements of body horror, occultism, and Lovecraftian terror. The story begins when a small-town police officer, Daniel (played by Aaron Poole), responds to a distress call and discovers an injured man outside of an eerie, abandoned hospital. The man, clearly in shock, warns Daniel that something is wrong, urging him to leave before it’s too late.

As Daniel brings the man to the hospital, he and a small group of survivors become trapped inside, as a strange cult begins to gather outside, and an ominous force seems to be brewing inside the building. Within the confines of the hospital, the survivors face increasingly horrific, otherworldly events. People are mysteriously disappearing, and grotesque creatures begin to manifest from both human and monstrous forms.

The group discovers that the hospital is not just a physical building but a kind of interdimensional nexus. The malevolent force inside the hospital is attempting to open a portal to another dimension, bringing an apocalyptic wave of unspeakable horrors. As the survivors struggle to stay alive and figure out how to escape, they realize they may be pawns in a larger, darker cosmic scheme, one in which the line between reality and nightmare becomes increasingly blurred.

The film explores themes of existential horror, the fragility of the human condition, and the terrifying unknowns of the universe. It deals heavily with the notion of cosmic horror, where the true horror is not just the monsters and violence, but the overwhelming sense of insignificance and helplessness before forces that are beyond human understanding. The cult outside the hospital represents blind fanaticism, while the twisted creatures inside symbolize the madness that follows when humans are exposed to incomprehensible truths.

The hospital itself is a key character in the story—its decaying, sterile atmosphere adds to the claustrophobic tension and dread. The isolation and the horrors inside mirror the mental and emotional breakdowns that the characters go through as they encounter these inhuman enтιтies.

Visually, The Void embraces a retro-style of horror, with nods to 80s horror films, particularly the works of John Carpenter and David Cronenberg. The practical effects are a standout, with grotesque, body-horror transformations that evoke visceral reactions from viewers. The film’s use of practical creature effects and special effects serves to enhance its unsettling tone, with monstrous forms taking shape in twisted and often surreal ways.

The cinematography emphasizes a stark contrast between the dark, oppressive interiors of the hospital and the strange, almost dreamlike sequences of cosmic horror that unfold. The use of dim lighting, fog, and narrow corridors heightens the sense of confinement and fear, creating an atmosphere of tension that grips the audience throughout.

The tone of The Void is bleak and foreboding. There is a growing sense of dread throughout the film, as each new development pushes the characters deeper into existential terror. The slow pace at the start allows the tension to build steadily, but once the supernatural horror takes over, the film becomes an all-out descent into chaos and madness. The atmosphere is one of unease and unpredictability, with strange events occurring in rapid succession, leaving viewers on edge.

The Void is heavily influenced by the works of John Carpenter, particularly The Thing (1982), and by the cosmic horror stories of H.P. Lovecraft, such as The Colour Out of Space. The film taps into themes of forbidden knowledge, human frailty, and the terrifying consequences of encountering something beyond our comprehension. It blends psychological horror with grotesque body horror, creating an experience that is as mentally disturbing as it is visually grotesque.

In terms of its legacy, The Void has garnered attention for its commitment to practical effects and its unique blend of horror genres. The film stands out as a modern take on 80s horror nostalgia while adding new, unsettling layers of cosmic and body horror to the genre. It has gained a cult following among horror fans who appreciate its unapologetic exploration of dark themes and disturbing visuals.The Void is a highly unsettling and intense horror film that captures the essence of cosmic terror while paying homage to classic horror films. Its combination of grotesque creatures, psychological torment, and eerie atmosphere make it a standout in the modern horror landscape. For fans of body horror and supernatural thrillers, The Void offers a chilling, nightmarish experience that lingers long after the credits roll.

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A Farmer’s Misplaced Hammer Led to the Largest Roman Treasure in Britain

Hoxne Hoard treasures. Photo by Helen Simonsson CC by SA-2.0

November 16, 1992 was the day which changed Suffolk-resident Eric Lawes’ life in a huge way. What he thought would have been an innocent search for a hammer he had misplaced on his farm in Hoxne Village, Suffolk, England ended up bringing him much more than he had bargained for — namely, uncovering the hiding spot of a long-hidden treasure. Based on the Guardian’s coverage of the story, Eric Lawes had been previously gifted a metal detector upon his retirement as a parting token. He decided to put his retirement gift to good use in order to locate the hammer which he had had some trouble finding. According to a 2018 Smithsonian Magazine article, when the device started recording that there was a strong signal coming from the earth, he knew that he was about to discover something big. As he started digging, it soon became clear to him that he had unearthed a treasure trove.

Hoxne Village. Photo by Duncan Grey CC BY-SA 2.0

The Guardian reports that, when Lawes saw that his preliminary digging had yielded a few gold coins and silver spoons, he immediately contacted both the local archaeological society and the police department. Archaeologists came to the property the following day and had the area of earth holding the treasure carefully sectioned-off and removed. Their hope was that at a later stage, in their laboratory, they could examined the items in order to identify both their age and how they were stored.

Hoxne Hoard: Display case at the British Museum showing a reconstruction of the arrangement of the hoard treasure when excavated in 1992. Photo by Mike Peel CC BY-SA 4.0

When all was said and done, close to 60 pounds of items made from silver and gold were found on the site. These included more than 15,000 Roman coins, 200 gold objects, and several silver spoons. For archaeologists, this find — which later became labeled as the Hoxne Hoard — was an incredible discovery. AP News reported that archaeologist Judith Plouviez was over-the-moon about the discovery, saying that it was “an incredibly exciting and amazing find.” What’s more, another archaeologist, Rachel Wilkinson, told Smithsonian Magazine that this discovery was “the largest and latest ever found in Britain.”

Hoxne Hoard: Coins. Photo by Mike Peel CC BY-SA 4.0

Ordinarily, archaeologists would use radiocarbon dating as a means of identifying the age of ancient relics. However, they couldn’t locate any suitable material from the haul. Consequently, they determined the age by examining writing on the coins, as well as the ruler carved into them, estimating that the treasure was probably buried in either 408 or 409 AD.

The silver “Hoxne Tigress” – the broken-off handle from an unknown object – is the best known single piece out of some 15,000 in the hoard. Photo by Mike Peel CC BY-SA 4.0

Roman-era archaeologist Peter Guest told Smithsonian Magazine that “if you look at them a little more carefully, then they should be dated to the period after the separation of Britain from the Roman Empire.” He offers as part of his evidence the fact that almost all of the coins found in the Hoxne Hoard were clipped – in other words, small chunks of their edges had been taken off. These clippings would have been used to create coins which were similar to the Roman coins of that era.

A silver-gilt spoon with a marine beast from the Hoxne Hoard. Currently in the British Museum. Photo by JMiall CC BY-SA 3.0

Guest has a logical reason for this, arguing that “The Roman Empire wasn’t supplying Britain with new gold and silver coins, and in light of that, the population tried to get over this sudden cutoff in the supply of their precious metals by making the existing supplies go further.”

Reconstruction of the Hoxne treasure chest. Photo by Mike Peel CC-BY-SA-4.0

Archaeologists also believe that the treasure belonged to a Romano-British family. During that time, considering that there was so much societal discord and upheaval, it was common for Romans who had settled in Britain to bury their most prized possessions.

Two gold bracelets from the Hoxne Hoard, in the British Museum. Photo by Fæ CC BY-SA 3.0

That said, one archaeologist is of the belief that the hoard had a lot of sentimental value for the Romano-British family to whom it is believed to have belonged. In her book The Hoxne Late Roman Treasure: Gold Jewellery and Silver Plate, Catherine Johns claims that the manner in which the treasure was kept supported this claim. Some of the items which were recovered had been packaged in small, wooden boxes which were lined with leather. What’s more, pieces of wood, locks, and nails, among other things, surrounded the gold and silver pieces. This leads Catherine to assert that the package was carefully buried and not simply chucked away in a rush.

Three silver-gilt Roman piperatoria or pepper pots from the Hoxne Hoard on display at the British Museum

Interestingly enough, the items unearthed might shed some light on the identity of the family who owned them. They cite a gold bracelet bearing the inscription “UTERE FELIX DOMINA IULIANE,” which roughly translates to “use this happily Lady Juliane”. A second name “Aurelius Ursicinus” has also been discovered. This has consequently led some to believe that Juliane and Aurelius were the couple and the original owners of the treasure. That said, that has yet to be confirmed.

Two toiletry items, one in the shape of a crane-like bird; the other with an empty socket, probably for bristles for a makeup brush. Photo by Fæ CC BY-SA 3.0

All in all, the discovery was a real treasure for archaeologists, and by extension, for Lawes. According to Smithsonian Magazine, in recognition of his discovery and willingness to contact authorities, the British government rewarded him with over £1.7 million, an amount which he shared with the farmer whose land was dug out in order to get the treasure. Funnily enough, apart from the treasure, Lawes also found his lost hammer — which now resides in the British Museum.