In this essay, Orla Smith explores how Raw is as much about the experiences of her sister, Alex (Ella Rumpf), and their relationship — which saves Justine.
Book Previews
Elle and Big Little Lies: Progressive representations of violence against women
Paul Verhoeven’s Elle and Jean-Marc Vallée’s Big Little Lies share the common goal of unmasking the omnipresence of misogyny via its horrific manifestations in violence. In both universes, the best protection from violent men is trusting other women.
Steve James talks ABACUS: Small Enough to Jail
In this excerpt from the ebook In Their Own Words: Documentary Masters Vol. 1, Steve James discusses the making of his documentary ABACUS: Small Enough to Jail. To read the full interview, purchase a copy of the ebook here. Steve James’ new documentary, ABACUS: Small Enough to Jail is a wonderful little treasure. On one […]
‘No desire if it’s not forbidden’: Dread, eroticism, and text messaging in Personal Shopper
By using text messaging as a source of terror that morphs into eroticism, Personal Shopper acknowledges and subverts horror traditions.
Olivier Assayas on Personal Shopper, filming text messages
Olivier Assayas discusses the visual and aural aesthetic of Personal Shopper and how he shot that impressive texting set piece. This is an excerpt of the interview which appears in our case study on Personal Shopper in the ebook Beyond Empowertainment: Feminist Horror and The Struggle for Female Agency, which is available for purchase here.
Julia Ducournau’s Raw is a new kind of female body horror
Mary Angela Rowe’s review of Raw. Cannibalism is definitely a lady problem in Julia Ducournau’s Raw, but the film isn’t about the horror of female sexuality so much as the twisted results of shoving young women into a pressure cooker of experiences and expectations.