French-Algerian director Emma Benestan takes a fresh approach to some monster/revenge tropes to give us a dark fable of female power.
Continue readingAnimale (2024)
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Blackout (2023)
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Late night B grade horror is a bit of a MIFF treat but I think I knew 10 minutes in that this one was not going to be a ‘so bad, it’s good one’.
Continue readingThe Substance (2024)
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I think what threw me about this often delightful, often gross body horror was the expectation from reading the synopsis that it was feminist. It has made me muse on what my expectations are when that term is applied to a film, and I think it is about more than putting women’s stories at the centre, It’s about stories of women’s power and autonomy.
Continue readingThe Moogai (2024)
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Director Jon Bell has expanded his award-winning short film of the same name into a feature horror that enjoyably blends horror tropes with Indigenous history.
Continue readingOddity (2024)
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Immersion (きかいじま) (2023)
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Thanks Lowell for telling me to lower my expectations with this Gen Alpha meets ancient Japanese grudges J-horror.
Continue readingThe Forbidden Play (禁じられた遊び) (2023)
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This is a Japanese horror of Ringu (1998) ilk, all about vengeful wraiths and the monstrousness of female emotions.
Continue readingBarbarian (2022)
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I’m not sure of the wisdom of watching a horror like Zach Cregger’s Barbarian alone in a subterranean cinema on a Wednesday afternoon. My adrenaline was high for most of it as it twisted and turned through a dark labyrinth.
Continue readingYou’ll Never Find Me (2023)
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Sometimes you want a horror experience that’s visceral and uncomplicated and the debut feature by South Australian directors Indianna Bell and Josiah Allen gives that in spades.
Continue readingMonolith (2022)
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South Australian director Matt Vesely worked with a development lab and funding specifically for first-time feature directors to create a film on a defined, small budget to create this tense, one room, one character, sci-fi thriller.
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