The Power Of The Dog

Enigmatic, dense, endlessly surprising, Campion's rendering of Savage's 1967 novel requires time to absorb and digest, and in that very quality it exhibits its excellence and extraordinary depth. In lesser hands, with this sort of tale, we might have been served a dry cinematic essay on toxic masculinity. In turn, we were gifted with a poetic, slow-burning, merciless narration on how evil nests in a dissatisfied, selfish soul, breaking its humanity, reducing it to a performative shell, which then seeks to destroy and diminish all that is beautiful, vibrant, and good in its midst. For the sheer pleasure of feeding off another's suffering, as it has no joy of its own. A long-awaited return to cinema of one of its greats. [read more] ★★★★★

Sisters With Transistors

An anthological expedition into the origins of machine-made sounds and the women who shaped the soundscape of our current simulacrum, this incredibly well-researched, hereto untold story of female pioneers who gave form to what is now electronic music, narrated by that icon of multimedia, Laurie Anderson, with her hypnotic voice, and steady pace, is absolutely brimming with Promethean insight, yet is also subdued in form, aiming for precision rather than panache. [read more] ★★★★✩

Promising Young Woman

An explosive device, bubble-gum-wrapped in vivacious rom-com feels, this is an ancient tale of womanhood desecrated - a female gaze extraordinaire, on men who abuse trust, and women who enable them, in a manner more belonging to Mesopotamian myth, rather than any sociopathic femme fatale trope in cinema. I am giving it a five-star, not because it is a faultless film, which it isn't, but because it is one of a kind. [read more] ★★★★★

The Witch Of King Cross

A flawed, but fascinating take on Rosaleen Norton, artist & dedicated occultist, notoriously active in 1950s Sydney, using all the tricks of the doc trade to conjure the self-declared witch in her nocturnal glory - showing fault only when it tries too hard to render her safer for the masses by confining her in feminist or archetypal tropes (however apt). An intoxicating brew, offering this truly unique counter-culture figure some posthumous justice. [read more] ★★★★✩

From Door Frame to Freeze Frame: Femmes Ante Portas

A post-Jungian reading, encountering feminine mysteries on celluloid, analysis of the veneration of the Hollywood film icon, tracing the blazing trail of cinema femme fatales, their imagery framed within portals, places where darkness and light meet, the heroines gazing back at us, in defiance, as permanent challenge to imposed authority, transforming, dynamically, into a new animus/anima fluid form of the femme fatale as action figure. [read more]

Fallen Women of Hollywood Melodrama: 1930s-1950s

Exploring the myth of the fallen woman in classic Hollywood melodrama, via Jungian framework, tracing her historical, religious and literary antecedents, delving into the archetypal realms of the dark, wild feminine projected onto the screen, and her impact on the spectator, male and female. What these femme fatales, gold-diggers, seductresses, fallen angels, and furious housewives subversively revealed was a hidden narrative current underneath the official one, women's own dispossessed femininity, debased, fragmented and demonised, yet so powerfully vibrant and creative. [read more]

Hail Satan?

Penny Lane’s crafty, arch entertaining doc on a growing group of US Satanists almost got me thinking backwards, like a spell on a Black Sabbath vinyl. There’s no denying that separating church and state is always a good idea. Then, playing the devil’s advocate to the devil’s advocate, and why not – one must remember that Lucifer finally fell from grace due to hubris, not (just) because he was otherwise cool. [read more]

Sharp Objects & The Initiation Of The Screen She-Shaman

Camille emerged fully formed, a she-shaman forged in the era of the return of the witch, expanding the liminal space between traumatic events, taking the silver bullet of all audience assumptions and projections in a tale of female rage - of women hurting other women - all those dark vagina dentata materials blooming a venemous crimson red in the patriarchal dollhouse. [read more]


If you've ever been pushed off a cliff, this is the film for you. Once you transcend the gore, the sheer originality of its dynamics, the ingenious transgression of its point of view, which happens to be a according to a woman's frame, makes it a thrill ride of mythic proportions.
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