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 Horrierino 
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That was my horrierino highlight last year, Maiden, good shit. And both him and her are so beautiful that the lack of coherent plot never really becomes an issue (the fantastic cinematography and humour also help, a bit)


Wed Oct 28, 2015 9:22 am
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I honestly don't think the lack of coherence is a flaw. Isn't this a personal nightmare? The mental landscape of a very troubled guy? To the extent he's even supposed to be real... I love how it's funny while we're watching, and sad in retrospect.

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Wed Oct 28, 2015 9:03 pm
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Seconds is an eerie little tale that appears to be about a very expensive attempt to stave off old age. But it's not really about age, or fear of death, at all, but about depression and self-loathing. Rock Hudson is great here, depicting a man wearing the face of another man, unable to keep his underlying attitudes and limitations from showing through. I watched maybe 80% of this thinking there was a bigger conspiracy afoot, expecting some major reveal at the end. Instead, the reveal is small and mean and personal. If this is horror (and I think it is), it's the wonderful subjective camera that makes it so.

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Wed Oct 28, 2015 9:38 pm
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I would rather call Seconds a Sci-Fi or a thriller...but a great movie in any regards.


Thu Oct 29, 2015 8:10 am
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Well, most of my list is arguably not really horror. That's what I like. :)

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Thu Oct 29, 2015 10:40 am
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Seconds is excellent and I'll count it as a science fiction horror film.

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Thu Oct 29, 2015 2:00 pm
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made a list of my 20 fav french horror films

http://moviemezzanine.com/20-best-frenc ... ign=buffer

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Fri Oct 30, 2015 12:34 am
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Philosophe rouge wrote:
made a list of my 20 fav french horror films

http://moviemezzanine.com/20-best-frenc ... ign=buffer
I only saw one of those movies ( :oops: ), but I liked the article. And I thought Diabolique (or Les Diaboliques...?) was pretty good, and better than Clouzot's previous movie, but the premise is just so similar to one of my faves, Vertigo, that it couldn't help but end up feeling like a less mature warm-up for that one, y'know? Kind of ends up existing in its shadow.

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Fri Oct 30, 2015 1:30 am
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I've had two people try and argue that Trouble Every Day is not a horror film with me, both arguments amounting to either 1) it doesn't feel like other horror films or 2) it has higher ambitions than most horror. I disagree strongly, what do you guys think?

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Fri Oct 30, 2015 3:41 am
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Argument nr. 2 is a serious undervaluing of horror as a genre and its possibilities.

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Fri Oct 30, 2015 3:59 am
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more writing, on Venice as a locale for horror https://www.fandor.com/keyframe/horror-in-venice

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Fri Oct 30, 2015 4:34 am
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Philosophe rouge wrote:
more writing, on Venice as a locale for horror https://www.fandor.com/keyframe/horror-in-venice



I really enjoy analysis which cites the cinematic space as an important character or thematic factor, I think it's often overlooked. I think it's a big problem for me as a person who makes films because my spaces are very limited. My interior spaces are limited to my apartment which has its own structural limitations re camera work. The best films I've made are devoid of space and are made up of many linked close-ups which create an untethered, ethereal "landscape". I would really like to figure out how to use space effectively. I keep trying to make this one film - some sort of psychological dream where a female character is constantly, physically, running into herself and the horror that accompanies it. It hasn't worked though, I've made three different versions and they're all terrible.

How do you get your stuff up on a site like that? I watched Bigger Than Life last night and have soooo many ideas about writing about its contemporary relevance


Fri Oct 30, 2015 4:54 am
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traz wrote:


I really enjoy analysis which cites the cinematic space as an important character or thematic factor, I think it's often overlooked. I think it's a big problem for me as a person who makes films because my spaces are very limited. My interior spaces are limited to my apartment which has its own structural limitations re camera work. The best films I've made are devoid of space and are made up of many linked close-ups which create an untethered, ethereal "landscape". I would really like to figure out how to use space effectively. I keep trying to make this one film - some sort of psychological dream where a female character is constantly, physically, running into herself and the horror that accompanies it. It hasn't worked though, I've made three different versions and they're all terrible.

How do you get your stuff up on a site like that? I watched Bigger Than Life last night and have soooo many ideas about writing about its contemporary relevance

Space is always tricky, and I generally think underutilized as a technique in building theme or character. The thing about making movies is that often movement is the most difficult thing to pull off unless you have money or a team, so unfortunately I am not surprised you're struggling with it. Your best bet would be to find a way to evoke running in place, short of putting your character on a treadmill. Pay attention to how films evoke restlessness and running, and see if there are "tricks" to working it out on a limited basis. I think some tricks include moving backgrounds (via projections, in front of trains, or traffic), hysteric or over the top performances, and sound. It's not easy though, so I don't envy you.

I spend a lot of time writing emails to editors, A LOT. I'd say about 50% of the time I don't get any response, about 30% of the time it's a no. So the success rate is pretty low. It's really about persistance.

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Fri Oct 30, 2015 5:13 am
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Philosophe rouge wrote:

Space is always tricky, and I generally think underutilized as a technique in building theme or character. The thing about making movies is that often movement is the most difficult thing to pull off unless you have money or a team, so unfortunately I am not surprised you're struggling with it. Your best bet would be to find a way to evoke running in place, short of putting your character on a treadmill. Pay attention to how films evoke restlessness and running, and see if there are "tricks" to working it out on a limited basis. I think some tricks include moving backgrounds (via projections, in front of trains, or traffic), hysteric or over the top performances, and sound. It's not easy though, so I don't envy you.

I spend a lot of time writing emails to editors, A LOT. I'd say about 50% of the time I don't get any response, about 30% of the time it's a no. So the success rate is pretty low. It's really about persistance.


lol, I don't envy myself either. I showed my latest, hilarious attempt to make that film to my friend last night. We were both rolling on the floor. I tried to evoke some sort of horror imagery and shattered identity with.. a bunch of balloons. The effect is more comical then serious, and comes across like some idea of an art film. It looks like it was made by David Lynch's 5 year old daughter, if he had one.

would you mind pm-ing me a list of a few of the sites/editors you email? I assume you send pitches, and not full articles? I'm trying to get a go on this the past few weeks but I don't really want to write a lot more sensationalist articles about my life because I don't really care about them because I feel they lack artistry and insight. Rather, the insight is so personal it's almost lost on the general reader.

I also find myself incapable of writing fictional stories which leaves out a lot of the more literary publications that take on new writers


Fri Oct 30, 2015 5:25 am
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Philosophe rouge wrote:
more writing, on Venice as a locale for horror https://www.fandor.com/keyframe/horror-in-venice
I enjoyed this!

Also, of course Trouble Every Day is horror. It's not even on the borderline.

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Fri Oct 30, 2015 5:36 am
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Trouble Every Day is indeed horror-ble. :shifty:

Good list aside from that, although I was unaware of the Frenchness of some of those entries (particularly #1)


Fri Oct 30, 2015 6:08 am
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Sombre. :heart:


Fri Oct 30, 2015 10:04 am
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The Blind Woman's Curse is a lot of fun. It's colorful in every sense, occasionally gruesome, not very horror-y, to be sure, but there's a supernatural element that means 'close enough' for me. Meiko Kaji is terrific (and beautiful) and now I want to see her Lady Snowblood movies.

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Sat Oct 31, 2015 2:05 am
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Colonel Kurz wrote:
Argument nr. 2 is a serious undervaluing of horror as a genre and its possibilities.

I think even in this post-vulgar auteurist age, films that fit into genres are still considered silly and somehow unworthy. Not sure if it is always a conscious thing but it's real.

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Sat Oct 31, 2015 5:28 am
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Philosophe rouge wrote:
I think even in this post-vulgar auteurist age, films that fit into genres are still considered silly and somehow unworthy. Not sure if it is always a conscious thing but it's real.

I have noticed this crop up in my thoughts sometimes

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Sat Oct 31, 2015 5:55 am
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Philosophe rouge wrote:
I think even in this post-vulgar auteurist age, films that fit into genres are still considered silly and somehow unworthy. Not sure if it is always a conscious thing but it's real.

Yeah, but they're wrong.

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Sat Oct 31, 2015 6:00 am
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I watched the first two V/H/S films last night.

Like most compilation films, in both cases it's a lot more bad than good.

The first film is especially weak. The framing device of the sort of young-light-trash humpers is overlong, not particularly compelling and ultimately a little difficult to follow.
Each film brings something new to the table, which I appreciate - it is adventurous and it is nice to see some of my favourite contemporary American filmmakers try short-form - even if they're not particularly good at it. I think it exposes some of their weaknesses as filmmakers, and exposes some of discomfort I have with mumblecore (notably, characters who are "ironically" bad people, but are really cool guys ugh).

Amateur Night by David Bruckner
Silly but simplicity prevails. They really over-extend this one, it could easily have been half the length. Hannah Fierman as Lily is great and I like the pathos of her monster. She's the only memorable part.

Second Honeymoon by Ti West
Nice, if only because it draws on one of my fav creepy pastas (images of people sleeping). Nonetheless, the parts don't really add up. Far too much time devoted to fairly pointless exposition, and the "twist" is dumb.

Tuesday the 17th by Glenn McQuaid
Love the mysterious force in this one, the way they utilize "energy" and flaws in the camera to portray an unnatural force. It's otherwise a super conventional, to the point of being boring, slasher flick.

The Sick Thing That Happened to Emily When She Was Younger by Joe Swanberg
Easily the best one, it's the only one of the films that gets under your skin (literally, watching Emily digging through her arm is the most difficult part. The short works well as an exploration of abuse and self-destructiveness). The ghosts are also scary and the twist feels well earned, narratively and thematically.

10/31/98 (Radio Silence)

This one is at least fun, but still fairly pointless. Like most of these, the ending is awful.

V/H/S/2

Better framing device because it's a lot more minor. Has a nice payoff as well.

Phase I Clinical Trials by adam wingard
As much as I love 'You're Next', Wingard's films in these compilations are usually the worst. This one is utterly unmemorable.

A Ride in the Park by Eduardo Sánchez and Gregg Hale
Did not watch this whole thing, so won't comment

Safe Haven by Timo Tjahjanto and Gareth Huw Evans
This one is by far the best fil in either VHS film. Super creepy, and even though it's among the longest (if not the longest), it really earns it's running time - hell I'd watch a feature length film version. So many layers, but the human element is what makes it so terrifying. The things that PEOPLE do is worse than any of the monsters. IT has a joke "twist" but it's a fun way to end it, and gross. Love the way it's shot.

Slumber Party Alien Abduction by Jason Eisener
So Eisener, silly and an homage to classic horror. If I were younger it would be way scarier. It's pretty decent considering it's b-movie spirit.

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Sat Oct 31, 2015 6:05 am
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Safe Haven is great, sounds like I can safely miss out on the rest of it though

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Sat Oct 31, 2015 6:51 am
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I think my last horror of October will be Creep

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

Live. Laugh. Love. - Freddy Krueger


Sun Nov 01, 2015 9:10 am
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Really enjoyed Ginger Snaps

I'll probably continue watching horror films into November

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Sun Nov 01, 2015 10:00 am
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Image Image

I watched a Fabrice Du Welz double feature for Halloween. It's hard to know what to say about Calvaire (shown above). It makes skillful use of dissonance, beautiful sun-dappled scenery against interior horrors, the very ordinary turning into shocking oddity. It's a town without women, without logic, without mercy. I couldn't really get an emotional toe-hold in the story, though – it's so cold and opaque. Well, it's a crazy ride, anyway.

On the other hand, Vinyan (pictured below) is full of emotion and real people with recognizable psychologies, though there's very little mercy here either. Jeanne and Paul are grieving the loss of their son, though Jeanne's never given up hope that he's alive somewhere. They go on a wild (and expensive) goose chase to look for him in the jungles of Burma, and end up facing their worst nightmares. Loved all the ominous sound in this, and the shivery creepiness and ambiguity at journey's end. Good movie!

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Sun Nov 01, 2015 10:49 am
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And that's it for me! I didn’t quite make it through all my films (not so strange, since my list was growing all month). But I did watch 17, pretty good for me, especially considering my simultaneous Macbethathon. As discussed above, some of these are barely horror, but it’s the intersection between thriller and horror that I really love. Or, to be more accurate, the intersection of horror, thriller, comedy, and romance. Sounds hard to pull off, but that describes three of my top four right there! I've ranked them in my original post, here:

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Voyage | Female Gaze | MACBETH | Sokurov | Fassbinder | Greenaway | Denis | Sono | my bookshelf


Sun Nov 01, 2015 10:55 am
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