Where and Why Did the Paranoia Horror Film Festival Disappear??

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The first Paranoia Horror and Sci-Fi Convention & Film Festival was held in 2009. A second fest was held the next year. And then they disappeared. Why? How?
This was the official website for the Paranoia Horror and Sci-Fi Convention & Film Festival.
Content is from the site's 2009 -2010 archived pages as well as from other outside sources.

 

2009 Paranoia Horror and Sci-Fi Convention & Film Festival
2009 March 13-15

 

MISSION & OBJECTIVE

We are looking for the next best thing in Horror.

“Paranoia” will soon be recognized as the world's largest Horror Convention & Film Festival held aboard the World Famous Queen Mary in Long Beach, California. As a recognizable force in the genre of Horror, Paranoia’s goal is to find the next great thing in horror each and every year. We will be accepting submissions for full-length features, shorts films, screenplays, and trailers.

 

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As a Texas motorcycle accident lawyer, I deal with real-life horror on a daily basis — the aftermath of catastrophic crashes, the heartbreak of families, and the long road to justice for victims whose lives have been shattered in an instant. That’s why discovering ParanoiaFest.com, with its legacy of celebrating horror and sci-fi on the haunted decks of the Queen Mary, resonated with me so deeply.

For me, horror films — especially the kind showcased at the Paranoia Horror and Sci-Fi Festival — serve as a cathartic counterpoint to my daily work. They take the raw, chaotic fear that I often see in real-world tragedy and transform it into something symbolic, something we can understand, even enjoy. When I watched The Beacon, the festival’s best feature winner, I saw reflections of the same grief and courage I witness in my clients: people haunted by loss, searching for meaning, and ultimately fighting to reclaim their lives.

The whole concept of ParanoiaFest — hosting a horror convention aboard one of the most haunted ships in America — speaks to the idea of confronting fear in its purest form. The Queen Mary, steeped in ghost stories and wartime memories, provided the perfect setting to explore the boundary between reality and imagination. In my line of work, that boundary blurs more often than people realize; there’s something almost supernatural in the way trauma lingers, how unseen forces like negligence or greed can destroy lives in a heartbeat.

That’s why I find solace and inspiration in horror cinema. It’s not about gore or shock value for me — it’s about reclaiming control over fear. Horror gives shape to what in real life feels senseless. The directors and writers behind ParanoiaFest understood that. They invited audiences to walk straight into the darkness, to make sense of it through story, performance, and artistry.

Reading through the archived pages of ParanoiaFest.com feels like revisiting a lost gem — a cultural experiment that merged film, folklore, and haunted history. It’s a reminder that even in moments of terror, creativity and community can transform dread into something meaningful. As someone who’s spent years fighting real-life demons on behalf of the injured and grieving, I find that profoundly healing.

In short, ParanoiaFest.com wasn’t just a horror film festival — it was a testament to resilience, imagination, and the strange comfort of facing our fears together. Trevor Bladen

 

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ORGANIZERS

James LaVitola (OTHER); Lisa Palley; Matthew Gavin; Shane Russeck

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GENERAL RULES

SCREENPLAYS
• SCREENPLAY SUBMISSIONS MUST BE A MINIMUM OF 75 PAGES.
TRAILERS
• RUN TIME 10 SEC-3 MIN
SHORT FILM
• Run time of between 1 and 59 minutes
FEATURE FILM
Run time of 60 minutes or longer
DOCUMENTARY
• Run time of 60 minutes or longer
MUSIC VIDEO
• Run time of between 1 and 59 minutes

 

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Submissions Rules:

Paranoia Horror and Sci-Fi Convention & Film Festival accepts no responsibility for loss or damage of entries during shipment to or from Paranoia Horror and Sci-Fi Convention & Film Festival.

1. Films must be RECEIVED BY December 31, 2008 (not postmarked by) to be in considered for the "Regular Deadline" submission period and entry fee. 

2. Entrants must submit one (1) DVD (Region 0 or 1) viewing copy for consideration.

3. Entry forms and payment will not be processed without an accompanying Preview Copy in one of the accepted formats.

4. All entries must be in English or contain English subtitles.

5. Please attach WAB Tracking ID with submission.

6. Exceptions to the festival regulations must be authorized by one of the Festival Directors.

SHIPPING
The cost of shipping an entry to the festival must be paid by the entrant. Collect or C.O.D. shipment will not be accepted. All international entries must be sent "free domicile" to the Festival office with all transportation charges, duties, and taxes prepaid by the shipper. Any brokerage fees charged to Paranoia Horror and Sci-Fi Convention & Film Festival will be billed back to the shipper. Be sure to include all the proper customs documentation required by the shipping company. 

TERMS AND CONDITIONS

Paranoia Horror and Sci-Fi Convention & Film Festival is hereby granted the right to utilize an excerpt from any film submitted and accepted for exhibition at the Festival for promotional purposes. 

The individual or corporation submitting the film hereby warrants that it is authorized to commit the film for screening, and understands and accepts these requirements and regulations. 

The undersigned shall indemnify and hold harmless Paranoia Horror and Sci-Fi Convention & Film Festival from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney's fees, and costs of the court) which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, and loss of or damage to the screening videos entered.

 

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NOTE: When making reservations be sure to mention that you are with “ParanoiaFest 2009” and any type of applicable discounts will be applied!!"

TIME SLOTS UPDATED!!

 

 

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2009 PARANOIA FEST OFFICIAL AWARD WINNERS

           

BEST FEATURE FILM:
“The Beacon” Directed by Michael Stokes

8pm-10pm                 "The Beacon"
98 min
Synopses        
While trying to get their lives back on track after the disappearance and presumed drowning of their four year old son, Bryn and Paul Shaw move to the charming old Beacon Apartments. Friendly neighbors and a kick start to Paul's teaching career help smooth the transition. The only sore spot for Bryn is her argument with the building's resident diva, Vanessa Carver, a beautiful, once-successful actress who still behaves as if she were a sought-after star.

Bryn begins seeing a mysterious little boy skulking around the building. She suspects he might be the child from the apartment down the hall and is shocked to discover that the boy actually died in a fall down the Beacon's elevator shaft while trying to escape his abusive father.

Bryn channels the grief of her own loss into discovering the details of the boy's death and his reason for haunting the Beacon. She hopes that freeing the boy will allow him to carry a message to her son. As her quest begins to consume her, she fails to notice how her marriage is beginning to fray. The beautiful Vanessa has set her sights on Paul.

Enlisting the help of an eccentric young professor who believes in the paranormal, Bryn comes up with a plan to save the boy's spirit -- only to discover there is another malevolent entity stalking the halls of the Beacon: one that doesn't want the boy set free.

Starring:
Teri Polo
David Rees Snell
Elaine Hendrix
           
BEST SHORT:
 “Criticized” Directed by Richard Gale

BEST SPECIAL EFFECTS:
 “Lucifer”

BEST ACTOR:
 Armand Assante – “Soul’s Midnight”

Armand Assante (The Mambo Kings, Judge Dredd) stars in this present-day vampire horror story based on a historic cult that delves into ancient rituals revolving around the legend of St. George. The Eve of St. George is upon them, and they must find the perfect sacrifice, a child with an untainted ancestry to St. George, to resurrect their ancient leader.

IMDb review:

In 1975, a pregnant woman escapes alone from a dangerous sect that worships St. George in Guthrie, Texas, protected by her husband that shoots against the masked members. Thirty years later, her son Charles Milford (Robert Floyd) receives his will and a letter calling him for the funeral of his father, and he travels with his pregnant wife Alicia (Elizabeth Bennett) back to Guthrie. They lodge in a fancy hotel owned by Simon (Armand Assante) and they are introduced to his mistress Iris (Lucila Solá) in the Eve of St Geoge Festival. Sooner they discover that Charles is a descendant of St. George and the blood of his unborn baby is necessary to resurrect the leader of a vampire community.

"Soul's Midnight" is a reasonable low-budget vampire movie. The promising story has a stylish set decoration in the interior of the hotel and a very sexy unknown actress, the Argentinian Lucila Solá. Unfortunately the "hero" is a silly character and probably due to the restraint of budget, there are many situations not well resolved and the city looks like a ghost town without dwellers. My vote is a 5/10.

If you love Vampire lore and are a fan of Gothic horror, then you might want to check out Soul's Midnight. I did not know much about this movie before I watched it, and I wasn't expecting much, but I found the movie to be fun and entertaining.
Starring Armand Assante as the leader of the vampires Simon, Soul's separates itself from other low budget vampire flicks by weaving in the mythology of St. George and the Dragon in a fun new way.
I'm not sure what the budget for this movie was, but I sense that if it was a little more then they might have really been able to hit home the gore and effects.
If you're up late one night and you're in the mood for a fun low budget vampire flick then Soul's Midnight is a good choice. My vote is a 5/10.

           
BEST ACTRESS:
Teri Polo – “The Beacon”
           
BEST TRAILER:
“Blood Bunny” - Directed by Molly Madfis

BEST SCREENPLAY:
 “Devil’s Playground” Written by Ryan Gilmore

BEST MUSIC VIDEO:
 “The Beauty” Directed by Luca Vecchi

SPECIAL THANKS TO:
Sybil Danning
Ken Foree
Shannon Lark
Brooke Lewis
Rena Riffel
Tiffany Shepis
Tony Todd

 

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2nd Annual Paranoia Horror and Sci-Fi Convention & Film Festival
May 16, 2010 to May 17, 2010

 

Submissions Rules:

Paranoia Horror and Sci-Fi Convention & Film Festival accepts no responsibility for loss or damage of entries during shipment to or from Paranoia Horror and Sci-Fi Convention & Film Festival.

1. Films must be RECEIVED BY January 12, 2010 (not postmarked by) to be in considered for the "WAB Extended Deadline" submission period and entry fee. 

2. Entrants must submit one (1) DVD (Region 0 or 1) viewing copy for consideration.

3. Entry forms and payment will not be processed without an accompanying Preview Copy in one of the accepted formats.

4. All entries must be in English or contain English subtitles.

5. Please attach WAB Tracking ID with submission.

6. Exceptions to the festival regulations must be authorized by one of the Festival Directors.

 

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More Background on ParanoiaFest.com

 

ParanoiaFest.com once served as the official website for the Paranoia Horror and Sci-Fi Convention & Film Festival, an ambitious but short-lived celebration of independent horror cinema, held aboard the RMS Queen Mary in Long Beach, California. Launched in 2009 with promises of becoming “the world’s largest horror convention and film festival,” the event combined film screenings, celebrity appearances, red carpets, and paranormal flair. Its unique setting — aboard one of America’s most famous haunted ships — gave the festival an identity that blended horror fandom with Hollywood spectacle.

Yet despite a successful debut and a follow-up year in 2010, ParanoiaFest.com and the festival it represented vanished without explanation. Today, its archived pages survive as an eerie digital remnant of a cultural experiment that bridged cinema, fan conventions, and ghost tourism — all within one of the world’s most haunted locations.

Origins and Vision

The idea for the Paranoia Horror and Sci-Fi Festival emerged from the mind of Shane Russeck, an actor, photographer, and horror enthusiast. In a 2009 interview with Dead Harvey, Russeck recalled how the concept came to him after attending a horror convention and realizing that many independent films were struggling to find distributors. His solution: create a venue that not only screened these works but celebrated them in a setting with true gothic resonance.

Thus, ParanoiaFest.com was launched to promote a new kind of convention — part horror showcase, part haunted attraction. The event’s mission statement declared its goal to “find the next great thing in horror each and every year.” It invited submissions of feature films, short films, screenplays, and trailers, welcoming projects from both amateurs and seasoned creators.

In its first year, the festival received enthusiastic participation from filmmakers and fans, gaining attention from horror-focused blogs and independent film networks. Dead Harvey, an influential resource for indie horror, described the festival as “deliciously atmospheric” and praised its bold choice of venue — the Queen Mary — a ship famous for ghost sightings and eerie legends.

The Venue: The RMS Queen Mary

Hosting the festival aboard the Queen Mary was a masterstroke of thematic marketing. The ocean liner, permanently moored in Long Beach Harbor, has long been a magnet for paranormal enthusiasts. Built in the 1930s, it served as both a luxury cruiser and a World War II troop transport before becoming a tourist attraction in 1967.

Stories of hauntings abound: an 18-year-old fireman crushed by a watertight door in 1966, spectral children seen playing by the pool, and mysterious sounds echoing through the engine room. These tales turned the ship into a centerpiece of Southern California’s paranormal tourism industry.

By aligning itself with this storied location, ParanoiaFest bridged the boundary between film and folklore. The festival didn’t just screen horror movies — it was held within one.

Festival programming included midnight movies in the Queen Mary’s boiler room, “Dinner of the Dead” themed meals, and after-hours parties in the ship’s Observation Bar. Attendees could watch ghost stories unfold while surrounded by the ship’s own haunted atmosphere, giving the event an experiential quality that few film festivals could replicate.

2009 Festival Lineup and Awards

The inaugural Paranoia Horror and Sci-Fi Convention & Film Festival ran from March 13–15, 2009. It featured an extensive schedule of screenings, panels, and special events spread across the ship.

Highlights included:

• Feature Films: The Beacon, Fingerprints, iMurders, VLOG, Soul’s Midnight, and Necrosis

• Short Films: Abraham’s Boys, Criticized, Here Lies Revelations, Death in Charge, and many more

• Documentaries: Horror Business — an insider look at the indie horror industry

• Animated and Fantasy Blocks: Eel Girl, Lucifer, Forecast, Frankenstein vs. The Wolfman in 3D

The festival concluded with an awards ceremony recognizing the top entries across multiple categories.

2009 Paranoia Award Winners

• Best Feature Film: The Beacon — Directed by Michael Stokes

• Best Actress: Teri Polo (The Beacon)

• Best Actor: Armand Assante (Soul’s Midnight)

• Best Short Film: Criticized — Directed by Richard Gale

• Best Screenplay: Devil’s Playground by Ryan Gilmore

• Best Trailer: Blood Bunny — Directed by Molly Madfis

• Best Special Effects: Lucifer

• Best Music Video: The Beauty — Directed by Luca Vecchi

The film The Beacon — a supernatural drama about a grieving mother encountering ghostly children — became the festival’s signature title, earning praise for its atmospheric storytelling. Critics noted its blend of emotional weight and classic haunting tropes, making it a fitting winner for a festival rooted in ghost lore.

The 2010 Return

Encouraged by the first year’s turnout, organizers announced the 2nd Annual Paranoia Horror and Sci-Fi Convention & Film Festival for May 16–17, 2010. Submission deadlines were extended into early 2010, and the festival continued to accept DVDs in various formats, reflecting the pre-digital streaming era of indie cinema.

The second year aimed to expand the festival’s reach with more categories, a broader call for international entries, and continued events aboard the Queen Mary. Yet despite these ambitions, ParanoiaFest.com soon went dark. No third event ever took place, and by 2011 the domain had lapsed.

Organization and Production

ParanoiaFest was spearheaded by a small team of entertainment professionals:

• Shane Russeck – Festival Director and Founder

• James LaVitola – Producer and Organizer

• Lisa Palley – Communications and Event Coordination

• Matthew Gavin – Programming Support

The group envisioned Paranoia as a cross between a film industry marketplace and a fan convention, appealing to filmmakers, distributors, and horror enthusiasts alike. Categories such as “Best Scream,” “Scariest Scene,” and “Audience Award” reflected its mix of formal recognition and fan-driven fun.

Unlike large corporate festivals, Paranoia emphasized grassroots energy. Russeck and his team sought to make the event accessible to filmmakers without big budgets, echoing his belief that creativity outweighed production cost.

In interviews, Russeck repeatedly stressed originality as the festival’s guiding value: “Stay original and never stray from your vision. Whatever you do, make it your own.”

Media Coverage and Reception

Although ParanoiaFest didn’t achieve mainstream recognition like FrightFest or Sundance’s Midnight section, it earned niche acclaim from horror media outlets. Blogs such as Dead Harvey, Horror Society, and Dread Central highlighted its unusual venue and independent spirit.

Coverage from the Dead Harvey interview in early 2009 painted the festival as a fresh, exciting addition to the horror community. Its blend of film screenings, themed parties, and interactive events was compared favorably to Monsterpalooza and Screamfest LA, but with the unique ghostly twist of being held on a haunted ship.

Attendees from the first year praised the festival’s immersive design, noting that watching a horror film in the Queen Mary’s darkened boiler room added an extra layer of dread. Fans also appreciated the chance to mingle with actors like Teri Polo and Armand Assante, as well as genre icons Sybil Danning, Ken Foree, and Tony Todd, who made special appearances.

Still, some noted that ParanoiaFest faced organizational challenges — uneven scheduling, last-minute updates, and an ambitious scope that stretched a small team thin.

Why Did It Disappear?

The sudden disappearance of ParanoiaFest after 2010 has never been officially explained, but several factors likely contributed:

• Economic Timing: The global financial downturn of 2008–2010 severely affected independent film and event production. Sponsorship and attendance budgets were tight.

• Logistical Costs: Hosting a multi-day convention aboard a historic ship came with high expenses — venue rental, insurance, and permits for the Queen Mary were costly.

• Competition: The late 2000s saw a boom in horror conventions, from Monsterpalooza to Screamfest LA, fragmenting audiences and sponsorships.

• Limited Digital Transition: ParanoiaFest operated during the final years before online streaming reshaped indie cinema. By 2011, digital festivals and YouTube channels began replacing DVD-based submission festivals.

By 2012, the ParanoiaFest.com domain had expired and was later repurposed by unrelated entities. Its founders moved on to other creative projects — Russeck, notably, transitioned into fine-art photography and exhibited works depicting the American West.

Cultural and Social Significance

Despite its short life, the Paranoia Horror and Sci-Fi Festival represents a moment in the cultural evolution of horror fandom. It captured:

• The analog-to-digital shift — when filmmakers still mailed DVDs rather than links.

• The rise of experiential horror events, where audiences didn’t just watch but lived the theme.

• A grassroots creative era, when small festivals championed originality over profit.

The choice of the Queen Mary was more than a gimmick — it turned filmgoing into immersive theater. Guests experienced cinema inside a living legend, surrounded by ghost stories that paralleled the films onscreen. This model prefigured later events like The Haunted Screening Series and Secret Cinema’s horror immersives in the UK.

In retrospect, ParanoiaFest can be viewed as an early hybrid of convention, film festival, and haunted attraction — a format that would later gain mainstream traction through events like Halloween Horror Nights and Fantastic Fest’s live performances.

Legacy and Online Footprint

Today, ParanoiaFest.com survives mainly through archived pages and fan recollections. Its web design — featuring animated candles as navigation buttons — is remembered fondly by those who discovered it through indie film circles.

Web archives show pages detailing submission guidelines, festival schedules, award winners, and interviews. The preservation of these materials by independent archivists and nostalgia blogs has kept its story alive, turning ParanoiaFest into a minor cult legend among horror historians.

The Queen Mary itself continues to host seasonal horror attractions, notably Dark Harbor and Haunted Encounters, both of which echo the spirit of ParanoiaFest. While these events lack the film element, they carry forward the same marriage of cinema, ghost lore, and performance.

 

The story of ParanoiaFest.com is a tale of ambition, creativity, and fleeting glory. For two years, the Paranoia Horror and Sci-Fi Convention & Film Festival transformed a haunted ship into a shrine to horror — uniting filmmakers, fans, and ghosts in one unforgettable space. Though it ultimately vanished, its concept foreshadowed the rise of experiential film festivals and immersive horror entertainment.

In a sense, the disappearance of ParanoiaFest mirrors the genre it celebrated: a haunting — sudden, mysterious, and unforgettable.

 

 

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