Clay von Carlowitz is an actor and filmmaker based in NYC. A graduate of Kenyon College, he made his feature film debut as actor, writer and director in 'The House in the Woods,' before scoring the role of Eugene in Troma's 'Return to Nuke 'Em High.' Between film projects, he's appeared in satirical comedy play 'Ophelia' with Gotham Dance Theater, 'Danny and the Deep Blue Sea' at the Robert Moss Theater in the East Village, was nominated for Best Actor for the short play ‘Entr’acte’ at the Strawberry One Act Festival and had a lead role in the Zoom play reading of Simon Bowler’s ‘Forger.’ His flair for the subversive led to roles in Kafka-themed web series 'Under InspeKtion,' Liam Regan's horror comedy 'My Bloody Banjo' and Michael Walker's meta-slasher 'Cut Shoot Kill.' Through his Abandoned House Productions banner (co-owned by wife Asta Paredes), he wrote, directed and acted in 'The Shadow Scarf' and co-produced Paredes' 'The Slightest Touch.' Lead roles in recent horror shorts 'Scorch' and 'They Never Left' won acclaim on the festival circuit, and more recently he acted in 'Eros Point,' a romantic arthouse horror short. Currently developing several feature-length thrillers from his own scripts, Clay is also set to star as psycho killer CHESTER in Omar Salas Zamora’s horror thriller EYES ON JOANNE alongside Nina Kova. Shooting is set to take place this summer in Spokane, WA.
It’s been a long time since I’ve read a thriller this consistently compelling. Your setup is deceptively simple: show us part of a tragic event, flash forward to the apparent victim’s attempt at living a life, give him a fun love interest, a caring family member and concerned doctor and cue the weird stuff. Brilliant! I’m in! Here’s where you set yourself apart: you craft a very believable story of trauma, and through the escalation of events, you deliver a thrilling journey while deepening our understanding of and empathy for our protagonist. Borrowing from classic Hitchcock scenarios, you maximize tension from the confines of one location, but you do so with imagination and a clear love for the genre. I admit I was skeptical about a revelation involving an elaborate ruse, but you brilliantly flip that twist by connecting it to the pivotal moment so prominent in Adrian’s mind. None of this would work if you didn’t have likable characters, and yours are so dynamic, I felt like I knew them right away. Raz, in particular, infused the story with much-needed humor and levity in general. It was a real treat seeing her coax Adrian to come out of his shell. Adrian himself was delightfully neurotic. I did wonder at times why he spoke the way he did, but I eventually got used to it and assumed it was a tick stemming from his obsession with control and specificity. As a guy who often writes stories featuring brother characters, I appreciated the interplay between Adrian and Barton. Their scenes feel authentic, and even though the ending reveals the nightmarish nature of what we’ve seen, the detail about Adrian’s happy life helped to preserve the character journey’s integrity. Only minor notes I have for you involve some grammatical and spelling errors. Other than that, great job. On a personal note, as an actor, if I had the chance, I’d audition for this in a heartbeat. You moved me and managed to thrill me at the same time. No easy feat.
A washed-up B-movie actor becomes the prime suspect in a murder case when his indie filmmaker friend turns up dead.
During the pandemic, a writer flees the city with his wife and brother to a cabin Upstate - and encounters a murderous cult.