It’s back! Celebrations abound for this year’s Women in Horror Month. Here’s how we’re participating:
February 9 – Episode 73: A Girl Walks Home Alone at Night (2014)
We’re hittin’ everything hot in 2014! A couple of months ago it was Jennifer Kent’s The Babadook and next month it’s Ana Lily Amirpour’s A Girl Walks Home Alone at Night. Enjoy our interest in new horror while it lasts.
To tide you over, check out our brand new special Women in Horror Month PSA (below)! Plus these episodes from the archives focusing on women-made horror, including last month’s official pre-game episode on Julie Taymor’s Titus:
Blood Diner & The Oracle
The Slumber Party Massacre
Valerie and Her Week of Wonders
In case you missed our important announcement in the closing segment of Episode 71: The Babadook – from here on out new podcast episodes will only be released once per month on the second Monday of each month. Our next episode celebrates Women in Horror Month and comes out on February 9.
To prove that we have lives outside of horror, here are our best-of-2014 choices:
Laibach’s Jesus Christ Superstar was released back in 1996, but it dominated my world in 2014 as the thing most listened to during my travels / commutes. Ever since watching Nymphomaniac and hearing Rammstein’s “Fuhre Miche,” I’ve had the Laibach itch and have clung to this particular piece of work. Maybe because I’m all too familiar with the broadway musical, but I guess more so just because I’m a perverted immature heathen.
Jesus Christ Superstar is an obsession, but FKA twigs is a passion. After discovering her and her album, LP1, the experience prompted me to tweet this:
And then as luck would have it, her tour brought her to Nashville! Regretting the time I skipped Grimes, I bought tickets 3 months in advance. It’s easily the best consumer decision I made in 2014.
P.S. Meredith cast FKA twigs in the role of Chani in his version of DUNE The Musical. – Fem
This documentary about the breaking of the NSA surveillance story by the person who broke it, filmmaker Laura Poitras, is visceral cinema verite – as emotionally cutting as it is historically relevant. Facts about mass surveillance are well known (thanks to Poitras) but the dramatic arc of this story is the transformation of Glenn Greenwald from skeptic to believer. The final scene is a heart stab. When the credits rolled the theater was a blackhole of hopelessness, a communal emotional void-space. I hadn’t experienced anything like that in a theater since The Act of Killing. (Checkout last year’s Whorer Awards) Perhaps the only thing more hopeless is the apathy of the American public. Of specific interest to The Whorer is Poitras’ list of free software tools used in the making of the movie. At least one of those tools has since been compromised. This is of specific interest to The Whorer because without free software this website and all its content would not be possible. The tools Poitras mentions though are not creative tools but tools that protect users’ right to privacy. Without such tools, Poitras would have been unable to complete Citizenfour. She’s been on a government watchlist and her computers are routinely seized and searched since the release of her film My Country, My Country. This film was critical of the second Iraq War. Early in The Whorer, I asserted feminism and free software are part of the same project; i.e., peace and justice. Citizenfour is evidence of this. Now I feel guilty for using (abusing?) a movie that has genuine historical significance to put a feather in my Cap of Self-Righteousness. Sometimes you can see me on the street, wearing it, mansplaining things to people. - Meredith Continue reading
Episode 71: The Babadook
[Fem forgot to mention this, but another movie ze is reminded of is Hide and Seek. This comparison got hir thinking about the gender ratio of horror films focusing on motherhood vs. fatherhood.]
We Need to Talk About Kevin
“Facebook’s Last Taboo: The Unhappy Marriage”
12 O’Clock Boys