The Story
A man on his morning run is haunted by a nightmare about two girls in the woods. As visions begin bleeding into reality, he is forced to confront whether the images pursuing him are memories, warnings, or something far more terrifying.
About Red Flags
Red Flags is a psychological horror short film about memory, recovery, and the warning signs we try not to see.
The story follows a man on his morning run whose carefully rebuilt life begins to fracture after a disturbing dream about two girls in the woods. What starts as a nightmare slowly becomes something harder to dismiss: a series of visions, memories, and impossible warnings that pull him toward a truth he may not be ready to face.
At its center, Red Flags is not just a horror story. It is a film about the past catching up with us. It is about the danger of ignoring signs we do not want to see. It is about the fragile work of staying grounded when fear, guilt, and old patterns begin to return.
The film blends grounded drama with supernatural imagery: quiet recovery rituals, childhood photographs, red flags cutting through fog, and a shadowy figure that may be memory, monster, or something worse.
With Red Flags, Day Six Films is creating a suspenseful, emotionally driven short that uses horror to explore real human questions: What do we owe the past? How do we face what we have avoided? And when something inside us starts waving a warning sign, do we have the courage to pay attention?
Red Flags is currently wrapping production.
"The screenplay employs a non-linear, psychologically fractured narrative structure that mirrors the protagonist's blackout state, effectively withholding the central revelation until the final act. This delayed reveal recontextualizes every preceding scene, rewarding viewers who notice the recurring motifs planted throughout."
"The memory photographs as living, shifting, flat-but-animated figures create a distinctive visual language that separates past from present and fantasy from reality. Their behavior, freezing and morphing, escalates in menace as Runner's psychological state deteriorates, functioning as both nostalgia and accusation simultaneously."
"The screenplay's thematic argument that romanticizing the past is can lead to relapse and that nostalgia and addiction can work together is sophisticated and specific to recovery culture without being didactic."
"The Top Hat figure works as a potent externalization of addiction itself. His transformation in the final moments is a genuinely clever piece of visual storytelling that collapses the supernatural horror into real-world tragedy. The screenplay earns its horror imagery by grounding it in consequence rather than exploitation."
