Dr. Lindsay Hallam (University of East London) writes on Donna McRae, whose films Johnny Ghost and Lost Gully Road put an unusual spin on ghost stories.
Dr. Katherine Farrimond (University of Sussex) writes on Karyn Kusama’s films Jennifer’s Body and The Invitation, two films about “discomfort with the social world.”
Don’t miss these brilliant discussions on the work of two important filmmakers!
September 2018 saw the publication of two more director pieces on Cut-Throat Women:
Sarah Louise Smyth discussed Alice Lowe and Prevenge (2016), a film that reconsiders the pregnancy/motherhood horror trope from a female perspective (and Smyth explains how Lowe’s real-life pregnancy during filming contributed to the result).
Don’t miss these excellent pieces—and if you haven’t seen Pet Sematary or Prevenge, you have some homework to do!
There are also two new pieces on the site! Keep reading for more info...
1. Dana Och submitted a thoughtful piece on Northern Irish filmmaker Aislinn Clarke, which coincided with the release of her feature film The Devil's Doorway from IFC Midnight. Be sure to check it out!
2. I (Sonia Lupher) write on Lao filmmaker Mattie Do, whose 2016 feature Dearest Sister was Laos' official entry to the 2017 Oscars and who is singlehandedly creating a Lao style of filmmaking in a country that has few productions to its name.
Thanks for reading!
Cut-Throat Women is making its debut with five director pieces/profiles ready to go! The process of gathering names, finding initial contributors, and figuring out the details of website-construction (with lots of help) has already indicated the length and breadth of a project that seeks to shed light on the enormous scope of women's contribution to the horror genre. Because there are a lot of women who make horror, and there have been for a long time.
Keeping in mind that there are many, many (many!) more to come, please enjoy the first five pieces about exciting, innovative filmmakers written by five smart, thoughtful writers. You'll find here...
1. Dr. Lindsey Decker's piece on Ana Lily Amirpour, who made waves in 2014 with her Iranian vampire Western A Girl Walks Home Alone At Night, and whose later (and more controversial) work Dr. Decker examines with nuanced, careful analysis.
2. Maxime Bey-Rozet writes on Lucile Hadzihalilovic's haunting, fantastical oeuvre (Innocence, Evolution) and her longstanding association with a filmmaking style bordering on the genre-bending and unclassifiable category of extreme cinema.
3. Alison Lang discusses the incomparable Mary Harron and her most (in)famous film, American Psycho, giving a highly readable account of her career and transformation into a filmmaker known for her perceptive, biting insights into gender politics and violence in contemporary society.
4. Emmanuelle Ben Hadj introduces the up-and-coming French director Holy Fatma, whose disturbing short film Please Love Me Forever has recently played at numerous genre festivals and demonstrates the filmmaker's desire to promote diversity in her work.
5. Dr. Dahlia Schweitzer brings her expertise on the work of artist Cindy Sherman, whose grotesque photographs have impressed and disturbed critics and art lovers since the 1970s and whose only film Office Killer reflects the gender subversion and social critique she has become famous for in her art.