Matthew Kingston

Official selection for best feature script, LA Fantasy festival. Quiet Hours follows Molly, a young woman shaped by cult violence, neglect, and obsessive rules, as she attempts to impose order on her fractured inner life through ritual and control. Convinced she’s following a higher design, she abducts Lewis, an emotionally vacant loner, who seems perfectly suited to disappear without consequence.
As days pass in enforced closeness, Molly’s certainty erodes. Lewis is not afraid, not pleading, and not behaving like a victim. Instead, he reflects her own emptiness back at her, destabilizing the rituals meant to keep her safe. Therapy sessions, childhood memories, and fractured loyalties blur together as the line between captor and captive dissolves. In the end, Quiet Hours becomes less about violence than about two broken people circling the same questions: can meaning exist without cruelty, and whether silence is safety or surrender.

Michael Hung Himself unfolds in the hours and days surrounding loss, moving between group chats, phone calls, memories, and fractured conversations as a group of longtime friends try to make sense of something that refuses to make sense.
Through dark humor, shared history, and moments of raw honesty, the story examines how grief splinters differently for everyone: guilt disguised as anger, love hidden behind jokes, and the impossible desire to rewrite the past. Rather than offering answers, Michael Hung Himself sits with the discomfort of unfinished sentences and unanswered texts, exploring how people carry the dead forward while still learning how to stay alive themselves.