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Posted on July 4, 2019

Natalia Leite’s M.F.A. and Survival, Eastwood Style

Guest Post

In Natalia Leite’s 2017 M.F.A., a timid third-year Fine Arts student Noelle (Francesca Eastwood) voices the riposte, “I guess that depends on what law you break” to a women’s student group as its leader condescends to her frustration at Southern California’s exclusive Balboa (actually Chapman University) campus’s complicit rape tolerance policy by warning her that, “If you break the law, there will be consequences.”

This administration-friendly group endorses Rohypnol-sensitive nail polish and keeps busy raising funds to support a woman in Rio de Janeiro who was gang-raped by thirty-three men (the number of assailants and the distant crime site inspires them to name their initiative, ‘Heroes for Rio’): here, Noelle’s protest situates the logic of a truly feminist rape-revenge horror film: patriarchal systems of law force rape victims to take the law into our own hands in order to survive. Read more

Posted on March 28, 2019

The Female Gaze and Agency in Anna Biller’s The Love Witch

Guest Post

“The male gaze,” a term coined by British film theorist Laura Mulvey in “Visual Pleasure and Narrative Cinema,” is something of a staple in feminist film criticism. It implies that the lens of the camera, at least in the majority of films made in the early to middle of the twentieth century, is almost exclusively wielded by men. Thus, the “eye” of the camera becomes the “male gaze,” everything we are subsequently shown is from a male point of view. Therefore, as women are more and more involved behind the camera in the film production process, the topic of the “female gaze” is an inevitable one. How do we re-articulate film theory from the point of view of women? And is the “female gaze” even possible? Anna Biller in her 2016 film The Love Witch sought to bring these questions to the forefront, as well as conceptions of the “woman as auteur,” as she had a hand in every single aspect of production, from costumes (which she sewed herself) to cinematography. Read more

Posted on March 16, 2019

7 Exceptional Recent Irish Horror Films Ranked

Dawn Keetley

Irish horror film has definitely been undergoing a renaissance recently and so, for this St. Patrick’s Day weekend, I’ve created a list of the best recent Irish horror, ranked. They are all excellent, though. Click on the “Read more” link to get the full review and the trailer.

Bojana Novakovic as besieged mother in The Hallow

The Hallow (Corin Hardy, 2015). Irish folk horror film, The Hallow follows a couple, Adam and Claire Hitchens (Joseph Mawle and Bojana Novakovic), along with their baby, Finn, who go to stay in a house deep in the Irish forest, which has just been sold for development. They discover there is a frightening truth to local folklore about “the hallow”—fairies and other supernatural creatures who want humans to stay out of their woods. Read more.

Posted on March 14, 2019

The Man Who Haunted Himself: Deadly Doubles

Dawn Keetley

The doppelgänger or double has long been a part of the horror tradition (Check out this comprehensive survey by Aaron Sagers at Paranormal Pop Culture), but it’s garnering new interest with Jordan Peele’s Us hitting the theatres on March 22, 2019. Peele’s new “monsters” are “The Tethered,” and they are perfect doppelgängers of the central family of four, on vacation in Santa Cruz, California. So far, there’s not too much information about where these doubles come from or why, so it’s going to be interesting to see how much explanation Peele offers. As with most horror film monsters, less is usually more, so I’m hoping he’ll be restrained. Peele is on record as having said that he was inspired in part at least by the Twilight Zone episode “Mirror Image” (1960), which he watched as a child. But there’s another narrative from the mid 20^th century in which a character confronts his exact double, one that is definitely worth watching: Basil Dearden’s The Man Who Haunted Himself, released in 1970 and based on Anthony Armstrong’s novel, The Strange Case of Mr. Pelham (1957), which was itself based on his short story, “The Case of Mr. Pelham,” published in Esquire on November 1, 1940. Armstrong’s story was also adapted in the Alfred Hitchcock Presents episode, “The Case of Mr. Pelham” (1955), directed by Hitchcock.

Posted on March 4, 2019

The Hole in the Ground: the Strangeness of What We Think We Know

Dawn Keetley

Written and directed by Lee Cronin (along with co-writer Stephen Shields), Irish horror film, The Hole in the Ground is a wonderful slow-burn film that relies on the formidable talents of its lead actors—Seána Kerslake as Sarah O’Neill and James Quinn Markey as her son Chris—as well as the beauty of the enveloping landscape. Cinematographer Tom Comerford and director Cronin make the most of their locations in Kildare and Wicklow, Ireland—and the forest, surrounding the hole at the center of the narrative—is itself as good as a character. The Hole in the Ground is an incredible entry in what seems to be a veritable renaissance in Irish horror.

The story follows Sarah as she moves with her son far from the city to begin a new life—away from the boy’s father who, as Chris put it, made her sad. (We learn very little else about Sarah’s relationship with Chris’s father, other than a large cut she has on her forehead.) One night, Chris disappears, appearing mysteriously back in the house after Sarah has searched everywhere for him. After his return, Chris seems different, alien. Sarah goes from uncertainty to certainty—finally becoming convinced that he’s an imposter. “He’s not my son,” she repeats. The film keeps us in some doubt, for a while, about whether Sarah is just imagining her son’s strangeness; she’s prescribed pills, and both her taking and then not taking them are suggestively linked to what might be her delusions. It’s also possible that Chris only seems like an imposter to her because her feelings toward him have changed: tellingly, things go wrong after Chris gets angry at Sarah for taking him away from his father.