Jen and Sylvia Soska’s 2012 film American Mary is a highly original horror film that flew under the radar on it’s original release and is ripe for rediscovery (or maybe just discovery). Continue reading
Hello my good fiends, to mark the passing of Samhain and the beginning of winter, I am bringing you only the second ‘guest’ post in this blogs brief history. A few words of introduction, apart from being a dear friend of mine (one who I shall be having for dinner soon) Mr David William Hall was my editor at the late and highly lamented Verite Magazine (all issues archived online here). Along with Toby Weidmann editor of Official Walking Dead Magazine, I credit David’s gossamer editorial touch, critical insight, and encouragement for making my writing at least passably readable.
Obviously the views and opinions that follow are the author’s own, but they appear with the complete endorsement of this blog, with the caveat that I liked the Annie Clark segment of XX, and still think Rosemary’s Baby is a classic horror film. Continue reading
In my finale communiqué from the Cinema Rediscovered festival in Bristol I take a look at Lizzie Borden’s 1983 film Born in Flames. This was a major discovery for me, Lizzie Borden being a director I was not that familiar with having only seen her film Working Girls some 25 years ago whilst a student. Continue reading
Written by the warrior woman, Jacqui Barr
Mother’s milk is sacred in the world of Mad Max: Fury Road. To see an adult male drink it is transgressive not just because we are squeamish about such things – after all this is a post-apocalyptic world and the film starts with Tom Hardy’s Max Rockatansky eating a live two-headed lizard – no, it is because this milk is being coerced from mothers – dead babies in arms – in order for men to trade it. In the brutal patriarchy that has risen in the wasteland even a woman’s breast milk is not respected. Therefore when Max, covered in another person’s blood, washes himself in mothers’ milk, he is definitively reborn. It is a hugely important totemic symbol to the women he travels with, and for the audience it signals that (blimey-oh-riley) Max has become a feminist. Continue reading