/sapphic/ - Sapphic Dreams

<Holly’s childhood was a nightmare — at age 7, she watched her mother kill her sister and father. Twenty years later, Holly’s dreams remain plagued by that painful memory. An unexpected reunion with an old friend further complicates matters, introducing Holly to a strange cult-like group that follows a celebrity psychic, one who takes a special liking to Holly… And because of him, her worst nightmares become shockingly real.

Just finished Can Evrenol’s Housewife… Easily the best and most interesting film of 2018 IMHO. There are themes and imagery which makes one think of David Lynch’s Eraserhead (1977) & H. P. Lovecraft’s The Dunwich Horror.

Holly is afraid of children, but at the same time she is unable to move on from childhood herself; her dolls’ houses and snow-globes seem to symbolise a desire to preserve the past and an attempt to create perfect little worlds where she is the all-powerful deity – able to create and alter everything, far removed from her terribly traumatic childhood.

The altar-like appearance of the portrait of her grandmother, and her mother seemingly praying to it could be alluding to Holly perceiving motherhood/parenthood as something god-like and something to look up to. This image is shattered when she witnesses her mother murdering her older sister and her father. She is so scarred by this that she absolutely refuses to have children of her own – perhaps does she fear that she will carry on the same traits to her own children?

She associates fertility with something horrible when her sister’s first period is what makes her mother commit murder.

It seems like she has preserved her – and her sister’s? – childhood bedroom just like it was, and she hides her birth control pills under the dress of a doll she had as a child. Her phobia of using toilets stem from the murder of her sister, whom her mother tried to drown in the toilet. Later on, while she is lost in a dream maze, her sister comes back to her, emerging from the toilet. Bruce cuts off her mother’s face, and wears it himself, which I took as her seeing others as the symbol of her worst fear – her mother/motherhood/parenthood.

The physically malformed foetus is a physical manifestation/symbol of how she fears her child will inherit her and her family’s flaws.

It seemed like she fantasised about Valerie when she masturbates, and she seems content with her sexual attraction to her, instead of reproductive sex. It could be she sees this as a way to get sexual release without the dangers of pregnancy. She also fantasises about her sister’s death during her masturbation, which could be her feeling both repulsed and guilty for her sexual feelings. It is also worth noting that she masturbates in her childhood bedroom(?) – the place she has preserved from childhood, and filled with dolls’ houses, her attempts at creating a perfect world, but her sexual feelings ruin this, and when she is done she looks ashamed and guilty, curled up in a foetal position. She associates sex with guilt and something terrible.

The inner circle of the Umbrella of Love and Mind is called ‘The Family’ – perhaps something she wants to have, but also something associated with her childhood trauma.

The scene in the outbuilding, where she sees her mother, and another woman… one is sucking on the other’s nipple, and breastfeading is something she immediately associates with babies and mothers, and this freaks her out to the point of hysteria.

Then there is the scene where she finds the open book, with the label ‘Apocalyptic Visions’ drawn in blood on the front. While Tim, her husband, is an author, the book describes her own experiences – she finds out she is a character, but the rest of the pages are blank – indicating that she is still in charge of her destiny still?

The grandmother appears to be cradling the placenta/foetus she gives birth to in the portrait we see at the beginning, the portrait her mother is praying to. An allusion to how a child often views their parents as all-powerful, god-like figures when they are young, only to grow up and see their flaws and humanity? Her mother’s guests are likely suitors/lovers, and her father is unaware of what is going on behind his back – making them both a far cry from the idolised god-like figures she imagined them to be.

Some more thoughts and observations…

The sight of the mother with the baby roller in the shop freaks her out – she has to hurry out, & when outside she hyperventilates. She freaks out when the kid comes up to her and touches her hair, getting flashbacks to the night of the murders.

The portrait of the grandmother we see the mother is praying to… who is Holly’s grandfather? Does Holly’s mother fear that her ancestry is ‘cursed’, and that this will pass on to her children? That explains why she freaks out when she finds out her oldest daughter has her first period – perhaps she hoped they would be unable to have children, and when she finds out they can, she believes she has to kill them.

We are told that Valerie went missing for two years when she joined ‘The Family’, the inner circle of Umbrella of Love and Mind. She didn’t call or let Holly or anyone else know she was OK. When people start a family IRL they often no longer have time for their friends, they are too busy. Holly sees a family as something disruptive, which took her best friend away from her.

The umbrella – Holly grabs an umbrella to defend herself with, and Bruce carries an umbrella at the conference(?), and uses an umbrella as a weapon to kill Valerie in the dream maze; and it is Holly’s pregnancy/motherhood which is the reason her friend is forced out of her life again.

On a psychological level Holly views starting a family/having children as the end of her freedom – something apocalyptic. This turns out to be prophetic, as we see she has given birth to some eldritch horror that has no place in this world. She seems relieved, even ecstatic & joyous, having accepted the situation, or become so lost in the dream maze she is beyond all hope.

What the fuck did I just watch?

Well I must say I had quite a different interpretation upon viewing than you did. I guess I read it more literally as it happened. The grandmother was some evil cult woman (who happens to look a lot like Hillary Clinton in the portrait). The mother was trying to stop whatever evil from coming to fruition by killing her children so that they could not give birth to it. There are parallels between this and Hereditary. The evil grandmother, the miniatures, the neckalace, the attempt to stop some abomination or darkness from entering the world. Even the house looked the same.

I also took Holly's panic attack in the supermarket to be in relation to her anxieties about having children. I guess I wasn't paying enough attention because I thought the child's room was being prepared for their child to be (as her husband didn't know she was still on the pill). On that, was the quickly developed child in her womb her husband's (from the threesome)? Or was it implanted and grown on the spot by Bruce. By the way, what kind of a name is Bruce for a leader kek. And that fake grey hair was terrible.

The threesome scene was hot af until Bruce's face showed up.

I think I really need to read some Lovecraft to get a finer appreciation of these things because some of the time I felt like I was watching a tv movie and found myself cringing. Such as the scene roughly 58 mins in where Bruce is ranting about the master visitor. That reminds me, I also thought at first that the visitors to her mother were affairs. However, later on in the dreamscape, Holly's mother seems to look right at her and call her a visitor. This is in keeping with Bruce identifying Holly as a visitor as well. It seems the mother was trying to stop the outcome of the cult she was apart of.

The music during the first half of the film reminded me of 'The Descent' score. https://www.youtube.com/watch?v=BgQG30mHg8k

I hadn't noticed the umbrella connections at all (d'oh!) and there's obviously a theme of them running through now that you mention it.

I found the period scene reminiscent of Carrie when the mother goes crazy over her sin made visible. I also found the ending fairly similar to Rosemary's baby. Her eyes are clouded over in the final shot. Is she dead?

The masturbation scene reminded me of Stoker. Though here, Holly is clearly impacted by childhood trauma whereas in Stoker the character is a psychopath.

Was the painting at the end supposed to be some kind of reveal? It was the same scene that was shown earlier when discussing covers for the book.

While I can appreciate the Lovecraftian ending (as far as someone can without having read any Lovecraft), I have no idea what was going on or what anything means. I like your interpretations regarding motherhood and Holly's fear of it. Actually I think there is a concept called something like monstrous feminine or something (stupid memory :@) that might have something to say about the whole fear regarding woman giving birth.

WHY IS IT CALLED HOUSEWIFE?

>>1293

I think you are right in that the events actually happen, and are not only symbolism. And I do like your take that the dolls’ houses and everything else in that room could be since Tim wants them to have a child, and not because she is clinging to the past, and trying to create perfect little worlds in all the chaos. A lot of the film takes place in Holly’s dream maze – the scenes where we see snow on the ground outside the house take place in ‘reality’, while the scenes in which the ground is bare and covered in autumnal leaves, are in her dreams.

My biggest question is: What is the significance of her amulet? It is worn by her grandmother in the portrait, and she freaks out when she loses it in the dream maze. It must be very important to her since she has kept it all these years. Later on Bruce places it on her stomach and it seems to rapidly speed up her pregnancy…

>Bruce

No love for Bruce? I genuinely liked him; thought the actor did a great job. I remember seeing the trailer and getting an eerie feeling from the character in the two short scenes where he approaches Holly who is being held down by The Apocalypse Kids, and when he pulls off what I thought was his face. I watched a review of the film on YT yesterday, and in a Q&A session after the screening Evrenol said that Bruce is based on televangelist Joel Osteen. You are led to believe Bruce is just another smarmy, cocky conman, but that changes quickly, and that scene where he approaches her without his shirt was rather eerie – he has a great screen presence in that scene, very foreboding and imposing, not least physically.

>The threesome scene was hot af until Bruce's face showed up.

It really was. I half expected Holly to do what Ruby did in the morgue, and use her hand to cover Tim’s/Bruce’s eyes in an attempt to block it out. I think that scene worked very well; an actually well-done sex-scene, and then introduce an element of horror, or somehow make it clash and leave the audience disturbed and weirded out – again, like Ruby in The Neon Demon.

>It seems the mother was trying to stop the outcome of the cult she was apart of.

By killing her daughter? I took that as an attempt to end her ‘cursed’ bloodline, a recurring theme in HPL’s stories. One example is the Oaths of Dagon in The Shadow Over Innsmouth, which the followers of The Esoteric Order of Dagon take; they are forced to interbreed with monsters to create hybrids that are born human, but will change as they grow up. If I remember correctly part of the reason why they are forced to interbreed was that the monster, the Deep Ones, could not have offspring on their own any longer, and needed humans to breed with. That could be what the grandmother had done, since she is depicted holding a foetus in the portrait.

In this film there is talk of ‘visitors’, in TSOI, these monsters the followers have to accept into their homes are called ‘guests’.

Still, the talk of ‘visitors’ could be referring to visitors into a dream.

>I found the period scene reminiscent of Carrie when the mother goes crazy over her sin made visible.

Nice catch. I remember seeing part of the opening of the original, and that her mother was a fundamentalist.

>>1293

>I also found the ending fairly similar to Rosemary's baby. Her eyes are clouded over in the final shot. Is she dead?

That reminded me of the eerie line from Event Horizon: “Where we’re going, we won’t need eyes to see.”

It is also very reminiscent of the ending to Lucio Fulci’s The Beyond (1981): “And you will face the sea of darkness, and all therein that may be explored.” Evrenol cited Fulci & Argento as his main inspirations.

>Was the painting at the end supposed to be some kind of reveal?

That scene, in which Tim is frantically finishing the painting in a trance-like state, reminded me of The Call of Cthulhu, where several artists and sensitive people are the first to notice the awakening of Cthulhu in their dreams. One artist in particular, Henry Anthony Wilcox, suffers terrible nightmares and creates art based on these dreams, most importantly a bas relief of Cthulhu. Since Tim is an author and painter it sounds like he is more susceptible to the outside influence of whatever that thing coming down from the sky was – his sketches and previous painting all indicate that these were deadly premonitions he didn’t know the (full) meaning of.

In an early scene where Holly enters the study and looks at the old newspaper clip, she also finds a notebook – is this Tim’s? Is it his dream journal, where he has scribbled down things from his dreams? If so he probably has no idea what it means, just that he remembered it in his dream.

Bruce acts as a messenger of this sky monster, and he directly influences Tim into painting the apocalyptic ending.

>Actually I think there is a concept called something like monstrous feminine or something (stupid memory :@) that might have something to say about the whole fear regarding woman giving birth.

In all honesty, child birth is pure nightmare fuel.

>WHY IS IT CALLED HOUSEWIFE?

Just like Holly is afraid of becoming a mother, she doesn’t want to become a housewife either, which she probably associates with her mother, who had ‘visitors’ when the dad was away. Along with having a child/children, it could be that she is afraid of repeating the sins of her mother (and grandmother?). IMHO becoming a ‘housewife’ is Holly’s worst fear, and it seems like she ended up losing her mind when she became one after giving birth to that hybrid monstrosity.

>The music during the first half of the film reminded me of 'The Descent' score. https://www.youtube.com/watch?v=BgQG30mHg8k

Love that film. A near-perfect horror film IMHO; Those claustrophobic scenes of them squeezing thru the tunnels were much worse than the scenes with the crawlers. Do you think Juno & Holly(!) were gay for each other?

>>1294

Tim is one lucky SoB…

>>1295

>A lot of the film takes place in Holly’s dream maze

I'll need to watch again where there is snow and where there is not. I was wondering if perhaps it's all in dream mode from the cult seminar onward?

>My biggest question is: What is the significance of her amulet?

I guess it's some kind of powerful token needed to bring about the birth?

>No love for Bruce?

Ha no he annoyed me. Probably because he is the antagonist after all.

>Evrenol said that Bruce is based on televangelist Joel Osteen

At the seminar, I couldn't help think of Peter Popoff https://www.youtube.com/watch?v=q7BQKu0YP8Y

Btw, Popoff is still preaching, people still believe him, and he's raking in ridiculous amounts of cash.

>I think that scene worked very well; an actually well-done sex-scene, and then introduce an element of horror, or somehow make it clash and leave the audience disturbed and weirded out – again, like Ruby in The Neon Demon.

Agreed

>By killing her daughter?

Yes. To prevent the planned birth of an abomination.

>I took that as an attempt to end her ‘cursed’ bloodline, a recurring theme in HPL’s stories.

This is where my ignorance is letting me down. Once I read some Lovecraft I think I'll gain a greater appreciation for, and different understanding of, these movies.

>the Deep Ones, could not have offspring on their own any longer, and needed humans to breed with.

And this would fit with the ending I guess. The child is being presented outside to the things after Bruce blows the horn.

>>1296

>It is also very reminiscent of the ending to Lucio Fulci’s The Beyond

Could the clouded over eyes represent an inner journey? To emphasise an inner perception rather than the world outside (reality?).

>Since Tim is an author and painter it sounds like he is more susceptible to the outside influence of whatever that thing coming down from the sky was

This makes sense.

>Bruce acts as a messenger of this sky monster, and he directly influences Tim into painting the apocalyptic ending.

But Tim had already painted this scene earlier before he knew of Bruce? It's just another rendition he painted at the end.

And I thought Compulsion didn't make sense.

>In all honesty, child birth is pure nightmare fuel.

Yup. I got to witness a family member give birth in the hospital room and it was something else.

>Love that film. A near-perfect horror film IMHO

Agreed. It was one of those films that stuck with me and I could watch multiple times. Shame about the sequel.

>Do you think Juno & Holly(!) were gay for each other?

Juno didn't strike me as the type. Holly and Beth on the other hand…

>Tim is one lucky SoB…

Tell me about it.

Some other things that popped into my mind when watching Housewife

>This is another movie about utopian cults

Mandy, BtBR, Housewife.

>Holly reminded me of Winona Ryder from some angles.

Side note - Is "Screencap" working for you? I just get a black .png no matter what I try. Even in mod mode without the custom CSS I still get a black .png

Tested it on /tv/ and it works fine.

>>1297

>I'll need to watch again where there is snow and where there is not. I was wondering if perhaps it's all in dream mode from the cult seminar onward?

I think everything from the moment Bruce connects with her at the seminar takes place in the dream maze, right up until the moment she becomes pregnant with the sky monter’s baby.

When Holly, Tim & Valerie head home to the mansion, that is clearly in her dream – when she rests on the ground outside, with a content look on her face, there is no snow anywhere to be seen.

There is also a lot of blues and otherworldly lighting going on that seem to indicate dream-scenes.

Btw., the bearded hipster friend is wearing a ULM pin and the necklace with the triangles when they meet him and his lady-friend before the seminar. 🤔 What is going on here?

>This is where my ignorance is letting me down. Once I read some Lovecraft I think I'll gain a greater appreciation for, and different understanding of, these movies.

I think it works on its own, without any knowledge of HPL as well. It does add to the enjoyment, I think, but so does a familiarity with Fulci & Argento’s films, from a visual standpoint. I will say that this is perhaps the film I have seen that really nails the themes Lovecraft used.

There is, sadly, a distinct lack of sapphic cosmic/Lovecraftian horror. I can only think of one other film, Callgirl of Cthulhu, which is a comedy mishmash of several Lovecraft stories/characters – and not a good one.

>The child is being presented outside to the things after Bruce blows the horn.

I saw it as the newborn being presented to the father and the followers. The father being the eldritch horror in the sky. It reminded me of the scene in The Lion King, where Simba is held up and presented to the others. The kids in the robes holding her down while she is impregnated, are listed in the end credits as ‘The Apocalypse Kids’ – are they the same robed figures we see outside when the newborn is presented?

Also, the scene where Bruce blows the horn to signal to the monstrous father in the sky is very reminiscent of the scene in Mandy, where, Swan, the head henchman in Jeremiah’s cult blows the Horn of Abraxas to summon the dreaded Black Skulls.

>Could the clouded over eyes represent an inner journey? To emphasise an inner perception rather than the world outside (reality?).

Quite so! Perhaps it is to show Holly mentally being lost in the dream maze still? The way she laughs could be her having completely lost it or accepted her fate and even being overjoyed at finally being a mother. Perhaps she is still in the dream maze, and sees something we don’t? We see an apocalyptic scene with a god-like abomination reaching down from the sky, but in her dream, maybe she sees something else?

>This makes sense.

w00t!

>But Tim had already painted this scene earlier before he knew of Bruce? It's just another rendition he painted at the end.

It was incomplete – there was no newborn being held up and presented, and no followers below. If he did base it on dreams, he was getting premonitions of the future, but it was only after he was directly influenced by Bruce that he saw the final, complete scene, and that killed him.

>>1297

>And I thought Compulsion didn't make sense.

It didn’t – or at least I haven’t been able to unwrap everything from it and make sense of it yet.

>I got to witness a family member give birth in the hospital room and it was something else.

Oh, wow. I can’t help think that Lovecraft’s fiction will feel incredibly tame after having witnessed childbirth. That’s the stuff that makes one paint dark and depressing works like Tim.

>Agreed. It was one of those films that stuck with me and I could watch multiple times. Shame about the sequel.

100%. I had heard beforehand that the sequel was bad, but I was not prepared for how bad it was. Not only did the caves look nothing like the ones in the original, but everything was so damn well-lit! The original was really dark, and it worked perfectly. They also based the entire premise of the sequel on the US ending of the original, which I loathe. Not canon IMHO.

>Holly and Beth on the other hand…

Really? I thought Holly and Sam had something going on – that scene where they talk alone outside the cabin at night, and Sam puts on those novelty glasses… Then Juno comes and interrupts them. But, my gaydar is shite, so I guess you have more basis for your theory.

Sam was played by Swedish actress MyAnna Buring btw., she has been in Twilight and Aussie drama Banished. Sheeeit! I just looked her up, and she was in Lesbian Vampire Killers as well! WTF?

>Holly reminded me of Winona Ryder from some angles.

Valerie reminded me of Julia Roberts; her luscious mane is very similar to Julia’s hair in Mystic Pizza.

I heard that the role was originally gonna be played by porn actress Stoya[sic?]. NWR likewise wanted Christina Hendrick’s character in Drive to be played by a porn actress, I think.

>Side note - Is "Screencap" working for you? I just get a black .png no matter what I try. Even in mod mode without the custom CSS I still get a black .png

>Tested it on /tv/ and it works fine.

No, it’s fucked. archive.is is often fucked too for some reason. I think it is my browser… Which browser did you try the screencap function on?

>>1303

>I honestly can't even remember Sam right now.

She was one of the more anonymous characters in the film. I think MyAnna was on Downton Abbey as well. While she looks great, there is something about the Twilight vamps that look off to me. They look so fake and artificial.

Holly was my fave of the group. That scene where she breaks her leg though. That was hard to watch.

>No idea who that is. What would be the appeal or benefit of using a porn star for that role?

I’ve seen reaction images of her, apparently she is a bit of a meme. I think she has a really high IQ, and I’ve seen anons posting pics from the social media where she is posing with ‘high brow’ books she’s read. Supposedly she wants to be taken seriously now, and do other things.

I think the rationale was to have someone who is comfortable doing nude scenes for the role. The thresome sex scene is pretty vanilla stuff, but later on, with the child birth scene, and she walks around naked with the newborn – not sure if a lot of ‘serious’ actresses would do that kind of role.

wew! I looked for the interview where NWR talks about interviewing pornstars for the role, and I found a bio saying that two pornstars do appear in the film.

Pornstar Andy San Dimas' cameo in Drive 2011: https://www.invidio.us/watch/?v=4Yve0gpv614

So, I tried to find the interview where NWR talks about interviewing pornstars for the role, and I did a search with DuckDuckGo, and I got a match from that other board, where I had mentioned in a post! He doesn’t explain why, but I assume it was because Christina’s character was supposed to be a stripper or prostitute working for Cook, but none of them could pull off the role, since they would actually have to do some actual acting.

An Interview With Nicolas Winding Refn, The Director Of Drive - VICE: https://web.archive.org/web/20180225002030/https://www.vice.com/da/article/ex77we/nicolas-winding-refn-movie-drive-ryan-gosling-cars

>In other /sapphic/ kino matters…We have to see this (embed related). It has a mediocre rating on IMDB however…

IMDb ratings are trash anyway. One for the film club?

>>1304

I hate it when they do that. What is the point of seeing the film if you have seen every plotpoint and twist in the trailer? smh tbh fam

>>1314

>there's got to be 20 years between her and Ronan.

Well, I for one, thinks that is pretty lewd. Though, given the setting, 1820, there isn’t gonna be a happy ending, is there?

>>1315

>Though, given the setting, 1820, there isn’t gonna be a happy ending, is there?

Not bloody likely but you never know. Their characters both seem to be people of means so maybe they live happily ever after on some estate kek.

Ok I may be a little harsh in my thoughts about Disobedience and perhaps I will see it in a different light some day but these are my first impressions.

Opening shot is the Rabbi talking about freewill, which we see revisited by Dovid when speaking of free will as some kind of endorsement of Ronit and Esti's relationship. Yes, you have freewill. Freewill to sin, or to follow God's will. It's pretty icky to watch slimy hollywood propoganda twist scriptures/religious texts. Obviously acknowledging free will in no way agrees with deviant behaviour. They're free to act and free to face the consequences for their behaviour (presumably from God). In any case they would still be banished from the orthodox community. The only difference being perhaps that Dovid would follow them in exile. Valuing Ronit and Esti more than his wider community. I guess I would have found it more palatable if there had been some kind of open rejection of the orthodox community than an attempt to pervert their texts. It's just so slimy. At least it does end with Dovid rejecting his position as head Rabbi when he realises he needs time to consider his beliefs.

Rachel Weisz completely phoned in this one. Unless it was her aim to come across as a wooden, sociopathic, dead eyed character.

Why if they are so in love with each other did Esti not travel back to America with Ronit? It reminds me of From Here to Eternity where one character is clearly in love with the other one who pretty much just uses them for sex and really couldn't care less. This seems to be backed up by the look on Ronit's face when Esti is confessing her love to her in bed. And we're also shown that Ronit uses sex as a convenience at the beginning of the film after learning of her father's death. I imagine the contrived pregnancy was also shoe-horned in there to keep her tied to Dovid and less likely to follow Ronit?

I'm not sure why Ronit felt entitled to her father's house. Particularly after she had been banished. Why so surprised that he gave it to the Temple? Being the daughter of a Rabbi she would know full well the consequences of leaving home instead of submitting to him, and the community. I also found her taking his 'portrait' at the graveyard kind of creepy. It came across to me as triumphant more than anything.

Oh my God, Rachel McAdams was just terrible in this. Every time someone glances at her, she starts moaning. I think the only scene to hold my attention was probably the dinner scene. The sex scene felt like it took place in a hospital it was so cold, clinical, and bleak. It literally came across as two strangers. Like Esti hired a prostitute off the street.

All in all, I found Disobedience to be dull as dishwater. Slow, pointless, bleak, muted. Disappointing. The end credits have the most life of the whole film with the music and coloured text.

>>1335

>The revelation (or was it manipulation) that she murdered her sister reminded me of Kitty and Evelyn in La dama rossa uccide sette volte, except it's reversed here.

I assumed it was manipulation in Housewife but it may very well have been what happened. That scene also reminded me of the revelation in Blueberry which at some point has been renamed Renegade https://www.imdb.com/title/tt0276830/

>I'll leave one question on the table: was the book really there or was it implanted into her mind, Matrix style?

The book at the end of the stairs or her husband's journal?

>>1358

I think the film intended to convey that Ronit is empathising with the struggles of Esti and feels sick for her, but Weisz is so dead it just doesn't translate.

>>1335

>I'll leave one question on the table: was the book really there or was it implanted into her mind, Matrix style?

IMHO, that was a manifestation of her fear and worry of something in her bloodlines that took place in her dreams. It may also be fuelled on by Tim’s apocalyptic-themed artwork. In any case it seems to me that it was in her dreams. Don’t think Bruce influenced it, but rather let her see what was going on in her psyche.

>>1364

>Did we add What Keeps You Alive to the Sapphic Kino Film Club list?

I have this written from a while back in notepad.

>Disobedience

>Kate's Addiction

>Lovesong

>Vampyres [remake]

>What Keeps You Alive

>A Simple Favor

We can keep it in that order or switch around as you please. I'm in favour of adding Trauma to the list. And the whole movie is on YT https://www.youtube.com/watch?v=Lhdn6N4U4eA

But I just realised there's no English subs on it.

>>1332

>Rachel Weisz completely phoned in this one. Unless it was her aim to come across as a wooden, sociopathic, dead eyed character.

Well, her estranged father has just died, she never got to say goodbye, and it turns out he did not forgive her or want to leave her anything, and she is staying with relatives and friends who do not want her there (with the exception of Dovid, perhaps, & Esti).

>Why if they are so in love with each other did Esti not travel back to America with Ronit?

I hadn’t thought about it until you brought it up, but this film is essentially Saving Face, only in an Orthodox Jewish setting instead of a Chinese-American community. But whereas Saving Face had likeable characters and humour, this does not.

>I'm not sure why Ronit felt entitled to her father's house.

Really? Blood is thicker than water… We have a law called ‘odelsrett’, which has existed since Norse times (and perhaps before that), and says that the oldest child inherits land owned by their parents – furthermore it cannot be sold out of the family without the closest kin having their say in the matter, and the right to buy it before it can be sold to outsiders. https://en.wikipedia.org/wiki/Odelsrett

The phrase “May you live a long life?”… Am I right in assuming that is some kind of back-handed compliment or a downright insult? I remember a similar phrase in 300, where King Leonidas tells a traitor “May you live forever”, which was a grave insult to a Spartan, a very warrior-focused people who saw dying in battle as almost an honour.

Why Ronit didn’t stay at a hotel instead is beyond me. The awkwardness, the troubled past, being surrounded by people who obviously doesn’t want you there…

Do Jews really sleep with that little hat on? And those wigs the women wear… You have got to be fucking kidding me. This is some serious autistic OCD behaviour. And don’t even get me started on the food, the clothes, and the special stores and schools. Good grief.

Hearing one rabbi say that prayer before dinner reminded me that J. R. R. Tolkien based the dwarf language on Hebrew – one bit in particular is very similar to the battle-cry Gimli shouts during the Battle of Helm’s Deep.

This film made me appreciate Room in Rome a lot more; Elena Anaya’s performance (she has that thing to btw), the over-all tone of the film, the setting… All done better, and not to mention the sex scenes! The scenes in Disobedience were just very unappealing, and cold and sterile IMHO (I swear I had written that before I read your post). No sense of love or deep emotion between the two.

Strip away the sapphic element and you have a bleak and depressive drama about guilt and regret and feeling unwelcome and alone in a highly restrictive religious community. Just an over-all bleak and depressing film… Pretty sure the bleak English/London weather and landscape didn’t help matters either… Just grey and cold, inside and outside.

One thing that ruined the suspension of disbelief for me was that there not a single nigger or raghead to be seen anywhere on the streets in London – I think there was a black woman on the bus, but she was out of focus in the background, and two or three at the airport, but this takes place in London in the current year. Talk about false advertising!

>>1371

>this film is essentially Saving Face, only in an Orthodox Jewish setting instead of a Chinese-American community.

I haven't seen that in so long. I only remember it being entirely too cute. Will have to give it another watch.

>Really? Blood is thicker than water…

>be Ronit

>be disinherited

>expect inheritance

>We have a law called ‘odelsrett’, which has existed since Norse times

I think there are similar things around the West but it would be 'next of kin' rather than eldest. And only as the default if there were no Will. The Will should be respected. This is from my tv and movie watching wisdom and probably has no bearing in reality though. Children fight legally to have their parents wills overturned in court like against Anna Nicole (sp) Smith's husband's Will. My maternal grandfather had a new family before I was born and not much to do with his first family. He left everything to the second family. My mum didn't fight it.

I suppose Ronit could have fought legally for something but I still found it a reach that she expected anything. She was disowned. She's the daughter of a Rabbi in an orthodox Jewish community. She left the community, is a woman, and queer. Presumably from what we are shown, she has had no contact with him since she left. Why would she expect anything?

>The phrase “May you live a long life?”… Am I right in assuming that is some kind of back-handed compliment or a downright insult?

I assumed it was a way for them to tell her that although outcast, they wished her no harm while she was there.

>This is some serious autistic OCD behaviour. And don’t even get me started on the food, the clothes, and the special stores and schools. Good grief.

Kek. That's what fundamentalism gets you I guess.

>J. R. R. Tolkien based the dwarf language on Hebrew

Based.

>This film made me appreciate Room in Rome a lot more

Ewh no. I still hate that movie.

>Elena Anaya’s performance (she has that thing to btw)

Her eyes creep me out.

>No sense of love or deep emotion between the two.

>Strip away the sapphic element and you have a bleak and depressive drama about guilt and regret and feeling unwelcome and alone in a highly restrictive religious community. Just an over-all bleak and depressing film…

Agreed.

>The scenes in Disobedience were just very unappealing, and cold and sterile IMHO (I swear I had written that before I read your post).

I'm glad I'm not the only one who saw it that way.

>One thing that ruined the suspension of disbelief for me was that there not a single nigger or raghead to be seen anywhere on the streets in London – I think there was a black woman on the bus, but she was out of focus in the background, and two or three at the airport, but this takes place in London in the current year. Talk about false advertising!

In terms of where the bulk of the film takes place, it make sense as they are in an orthodox area but you're right. I just checked the section when they travel to the hotel and it's like 28 Days Later. Hardly any people. Wtf?

>>1374

>I haven't seen that in so long. I only remember it being entirely too cute. Will have to give it another watch.

It wasn’t as grim as this film, but it wasn’t ‘out there’ either from what I remember, and the two films are very similar, even the scene at the airport, the pregnancy, the disapproving elders…

>He left everything to the second family. My mum didn't fight it.

Good heavens! That shit would not fly here. The idea of ‘blood and soil’ is too ingrained in us, I think – you have land owned by the same family for generations, passed down from father to oldest son – and now to oldest child, so women are included in the law. I think women losing the odelsrett was introduced when Christendom took over; before that they could inherit, sell or buy land as they saw fit.

In any case, the connection to the land where your family has lived for hundreds of years is very important here. A London flat would obviously not have the same importance, but the idea that your parent didn’t leave you a thing is very hard to fathom.

>I assumed it was a way for them to tell her that although outcast, they wished her no harm while she was there.

Or maybe an English greeting is a further sign of her being an outcast? Maybe an ‘insider’ would be greeted otherwise, maybe in Hbrew (or Yiddish?)?

>Ewh no. I still hate that movie.

>Her eyes creep me out.

WAT

Her eyes are gorgeous – she almost has that thing too IMHO. That look in her eyes, and her smile… wew!

Macarena has it too, of course, and even more intense – her smile could rival Mona Lisa’s tbh.

>In terms of where the bulk of the film takes place, it make sense as they are in an orthodox area but you're right. I just checked the section when they travel to the hotel and it's like 28 Days Later. Hardly any people. Wtf?

Not just that, but it looked really bleak too. Grey, dismal and cold. Which fits perfectly with the tone of the film I guess, and how everyone seems to act – hardly a smile to be seen.

One of the two scenes I did like in the film was when Ronit turns on the radio and changed the channel, and they just listen to the music – a brief moment of happiness in all the gloom.

>>1386

>The idea of ‘blood and soil’ is too ingrained in us, I think – you have land owned by the same family for generations, passed down from father to oldest son – and now to oldest child, so women are included in the law.

I like this. I only have a vague idea of my European ancestors' areas.

>I think women losing the odelsrett was introduced when Christendom took over

Figures.

>In any case, the connection to the land where your family has lived for hundreds of years is very important here.

It's pretty much non-existent here (except for aboriginals).

>the idea that your parent didn’t leave you a thing is very hard to fathom.

I agree. It's hard for us to fathom. Not so much for people in closed, restrictive, communities. If you're out, you're out. Surely there are cases of children being disinherited in Norway though? Or is that mainly a US thing or Hollywood trope I wonder.

>Or maybe an English greeting is a further sign of her being an outcast? Maybe an ‘insider’ would be greeted otherwise, maybe in Hbrew (or Yiddish?)?

Good point. We need to ask an orthodox Jew. Or Google

http://www.cinemablographer.com/2018/05/disobedience-review-rachel-weisz-mcadams.html

https://www.heyalma.com/disobedience-gets-right-wrong-orthodox-jewish-communities/

https://judaism.stackexchange.com/questions/22904/why-do-we-wish-someone-long-life-on-the-occasion-of-the-anniversary-of-the-dea

So something to say to family members in mourning at or after a funeral it seems.

>Her eyes are gorgeous – she almost has that thing too IMHO. That look in her eyes, and her smile… wew!

Boy, you are tripping. I would be worried that she would kill me in my sleep.

>Macarena has it too, of course, and even more intense – her smile could rival Mona Lisa’s tbh.

After watching Sexykiller I'm getting into Macarena.

>Not just that, but it looked really bleak too. Grey, dismal and cold.

An accurate depiction of English climate imo.

>One of the two scenes I did like in the film was when Ronit turns on the radio and changed the channel, and they just listen to the music – a brief moment of happiness in all the gloom.

I just checked that scene again. I found it quite depressing. But I can see what you mean about a brief moment of happiness in the gloom. Perhaps happy memories of when the were young together as well.

What is the other scene you liked?

>>1396

>I only have a vague idea of my European ancestors' areas.

Maybe it is time to go on a journey and explore your origins? There’s bound to be all sorts of colourful characters waiting to be found and have their story told.

It is sad to see people here start to forget where they come from, or not care… Guess it is inevitable in a modern society though.

>It's hard for us to fathom. Not so much for people in closed, restrictive, communities.

Apparently is was hard for Ronit to fathom as well… Guess being away from that closed religious community for so long made her assume it was possible her father would leave her the house and whatever else he had.

>Surely there are cases of children being disinherited in Norway though? Or is that mainly a US thing or Hollywood trope I wonder.

Sure, there are cases of relatives arguing in court about inheritance, but not to the extent in countries that doesn’t have these inheritance laws, I think. I’m not sure, but I would assume you can’t just overrule the odelsrett by disinheriting them.

>So something to say to family members in mourning at or after a funeral it seems.

Ah, that makes more sense. These people are too bound up in strict traditions and how to behave to disrespect someone – especially someone who has lost a close relative, even if they are estranged and an outcast.

Gotta give them credit for that – despite all the bad blood they try to act civil to each other. Dovid was actually the most level-headed and mature characters in the film, his decision to turn down the position and take some time off to think, and even set Esti ‘free’ pleasantly surprised me.

The main thing against him is that he must have known Esti wasn’t completely straight, and he still married her. Maybe it was simply the two of them caving to the expectations of others and doing it for ‘the greater good’?

>Boy, you are tripping. I would be worried that she would kill me in my sleep.

I’ve fallen, and I can’t get up! I am head over heels for her tbh. They are just so expressive and enchanting… I think the director of Van Helsing mentioned she sent in an audition tape she had made herself where she just went all Cage rage. Sorta sounds like what Sean Young did when she wanted the role of Catwoman, doesn’t it?

Absolutely perfect casting for Aleera, she really is perfect for the role.

>I just checked that scene again. I found it quite depressing.

It doesn’t end happily, but for a brief moment they seem to forget the situation and find some peace in all the chaos.

>What is the other scene you liked?

← This one. Very short and sweet, this scene worked better than all the sex scenes – just them under the tree where they first kissed and their fingers interlacing. Very well done.

I suppose the scene where Dovid turns down the position of Rabbi deserves an honourable mention as well – quite enjoyed that one.

>>1341

>He and his cult made me think of Keith Raniere and his NXIVM cult, with Valerie being the equivalent of Allison Mack.

I had that comparison in the back of my mind as well – there does seem to be a sexual element to the cult; the attendee from Morocco says his wife was greatly affected by Bruce’s ‘dream-intrusion’.

I wonder if there is a reference to Jim Jones’ ‘Peoples Temple’ cult as well. Jim and his wife adopted several non-white children and he referred to the household as his “rainbow family”, and he went even further, saying the entire cult was his “rainbow family”, which is reminiscent of Bruce’s ‘family’ of cult-members. https://en.wikipedia.org/wiki/Jim_Jones#%22Rainbow_Family%22

Wasn’t Kristen Kreuk also somehow involved in the NXIVM cult?

Part of the dream scenes reminded me of Compulsion – being lost in a dream maze, not sure what is dream and what is reality, the cult element…

<I am very inspired by Dario Argento and Lucio Fulci films. Fulci is one of the reasons I decided to be a filmmaker. They are more like crazy people painting with their own blood. I love their attention to weird details and emphasis on atmosphere and music, while some others aspects of their filmmaking seems super shallow and cheap. I am not intending my films to be shallow and cheap at any level, but I’m taking huge risks and sometimes when there are flaws, I try to make them in tune with the madness of the movie.

Housewife – Can Evrenol talks about his new horror film | Live for Films: https://web.archive.org/web/20181204101730/http://www.liveforfilm.com/2017/10/10/housewife-can-evrenol-talks-about-his-new-horror-film/

>>1404

>Maybe it is time to go on a journey and explore your origins?

I would love to. Need to save some money first.

>It is sad to see people here start to forget where they come from, or not care…

I don't think it's healthy.

>Guess it is inevitable in a modern society though.

Yep, more people in the cities = more of that alienation effect.

>Guess being away from that closed religious community for so long made her assume it was possible her father would leave her the house and whatever else he had.

Yes I think you've hit the nail on the head. She forgot what it was like.

>The main thing against him is that he must have known Esti wasn’t completely straight, and he still married her. Maybe it was simply the two of them caving to the expectations of others and doing it for ‘the greater good’?

I think that was the implication. They had grown up together, Ronit and Esti best friends, and Dovid the star pupil. I assume he would have known what went down and the cause for Ronit leaving. As Esti and Dovid were still 'good children' that stayed and would abide by the community, I guess those two marrying was the best action they saw to take. Dovid knew she was gay and Esti could trust him. They would try to make do as they could and presumably Esti would try to pray away the gay. At least that's how I read it.

>Absolutely perfect casting for Aleera, she really is perfect for the role.

It's funny. I watched Van Helsing after we discussed it a while back, and I can't even remember her scenes she was so forgettable. But do you know what is weird? I just looked up her imdb and realised she's the main character in The Skin I Live In which I quite enjoyed. I thought she was amazing in that. Maybe it was different watching her in a Spanish speaking role? I can't believe how different she looks in this compared to Room in Rome that was released only a year earlier.

>just them under the tree where they first kissed and their fingers interlacing. Very well done.

Agreed.

>>1433

>I would love to. Need to save some money first.

Crocodile Dundee in the UK.

It’s gonna be all convicts, isn’t it?

>I don't think it's healthy.

>Yep, more people in the cities = more of that alienation effect.

Aye, I think it is good to feel ‘grounded’, have a connection to a place. There is a song by Wardruna called ‘Rotlaust tre fell’ (a tree without roots will fall); I wouldn’t be surprised if there some benefit to our psyche to have this connection to a place and our family, as opposed to living in a busy city surrounded by complete strangers.

Not to mention how much more hectic and rushed everything is nowadays. Even just a few decades ago, when we weren’t online every day of the week, or could look up something on our phones… It just felt more peaceful.

>As Esti and Dovid were still 'good children' that stayed and would abide by the community

There’s gotta be a limited number of potential matches in this kind of religious community too, right? Marrying an outsider is probably not gonna go down well. Even another Jew who isn’t Orthodox might get alienated and feel like an outsider, or be forced to adapt.

>I can't even remember her scenes she was so forgettable.

WAT

I thought she was absolutely brilliant myself – probably the best portrayal of a vampiress I have seen so far; she nails the combination of seductive and innocent-looking with the sadistic hunter perfectly. She genuinely comes off as unhinged and sadistic and dangerous when she wants to – I think the director said he was taken aback by the intensity and passion of her audition tape.

I could rip the bonus features that focuses on the Brides and make a WebM of that part; I think we get so see a few brief glimpses of the audition tape, or at least some screen test footage.

>Agreed.

Looking at it again now, it also reminds me of the scene in Hush, where Willow & Tara take each others hand and interlace their fingers to make the vending machine move with their magic. Much more effective and clever than any sex scene.

Kinda surprised they didn’t go for the ‘they carved their initials surrounded by a heart’ in the bark, and still finding it there after all those years… Missed opportunity, or would that be too cheesy you think?

Here is the aforementioned bit from the Van Helsing bonus features…

Silvia Colloca (Verona) married Richard Roxburgh (Dracula) in 2004 (before the premiere of the film I believe), and I assume they met on the set. They are still together and have three children according to Wikipedia.

>>1450

>Here is the aforementioned bit from the Van Helsing bonus features…

So I'm not the only one who thought she was crazy. After realising she's the chick from The Skin I Live In, I'll have to reassess.

>>1452

>So I'm not the only one who thought she was crazy.

That’s just how good an actress she is; she can make people believe she is actually unhinged and dangerous!

>>1527

>I'm still owing you guys a review of Thelma but I'm glad I accidentally watched something relevant to the board.

I think it was definitely one of the highlights of our film club. Worth watching.

>I figured out the killer or should I say the killers at certain points but then I found myself chasing red herrings.

I watched it on yt late one night and completely didn't figure it out at all. Thought I knew and then didn't know and so on until the end when i was taken aback.

>Is it me or does the song Lesbo, video related, have a strong resemblance to Message in a Bottle by The Police?

By Jove you are right! Incredibly similar.

>Some last comments: the "creep camera" is incredibly effective, along with the heavy breathing.

>Uncomfortable as hell to watch.

Yes, like the scene in the public square.

>I liked this film a lot, but I still rank Profondo rosso higher. It's so inspired and original it makes this one seem generic in comparison.

I'd have to watch them back to back again to make a determination. They both had those amazing endings.

>but now I almost feel like a plagiarist hack and I certainly feel clichéd.

There is nothing new under the sun.

>I guess the point is to make it unique somehow.

Bingo. It's what you do with it. Make it yours.

>But coming to terms with that reality isn't as easy as saying it, and I'm struggling.

Keep on chipping away at it.

>>1528

Hot webm.

>I think it was definitely one of the highlights of our film club. Worth watching.

I plan to do it, it's just that there's so much to watch and so little time that I keep having to choose between things I want to watch. And the /tv/ club hasn't been helping things in that regard. Speaking of clubs, how are you doing with Twin Peaks?

>Thought I knew and then didn't know and so on until the end when i was taken aback.

Same thing with me, that's what I meant by figuring them out and then find myself chasing red herrings. You arrive to the correct conclusion and then Argento gives you a false lead that makes you discard it.

Something that adds to that confusion is that the flashbacks seem to pertain to the razor murderer but they're actually from the axe murderer.

>By Jove you are right! Incredibly similar.

I think Blue Öyster Cult's song is the source of both though. Interesting how depending on when someone hears a song it can resemble different ones that also resemble each other.

>Yes, like the scene in the public square.

Or like in the flashbacks, going through the vegetation. When chasing Maria too.

Also I checked out the English version and it doesn't hold a candle to the Italian one in terms of creepiness, the Italian one sounds aroused in anticipation of the kill, not only threatening.

>I'd have to watch them back to back again to make a determination. They both had those amazing endings.

I like the theme of unreliable memory in both. It's a staple of Argento's work and enables seemingly contradictory realities to coexist. The subjective perception against the objective reality, it's a terrific metaphysical question that Argento delves into. It's the same question Plato addressed with the Allegory of the Cave, this time with blood and sleaze, and making you experience it rather than just imagine it as a thought experiment. It's so much more than a horror film, I love it.

>There is nothing new under the sun.

Exactly. But it's tempting to fool oneself thinking otherwise, isn't it? I guess at least I didn't write "stretched his legs", lel.

>Bingo. It's what you do with it. Make it yours.

>Keep on chipping away at it.

Thanks for the encouragement!

Also… doesn't Maria look a bit like nyannyancosplay here? lol

Last but not least, you guys have mail. Specially meant for Eastman.

Ok I'm finally going to have a run through Kate's Addiction in a few hours. Review to follow shortly.

>>1556

Kate reminds me of Rita/Camilla from Mulholland Drive.

Lol Ezra, so 90s. Sounds like Bill Paxton.

>Doing shots and drinking cocktails first thing in the morning

wat

Is this a California thing?

<Since when do you date conservative guys?

kekked

Is that a massive vagina on the wall in their bedroom? Looks like Sarah or her beau have something on the mind.

Such tv movie quality

Yikes the poor blonde girl being such a follower of crazy Kate. Did not expect Sarah's bf to be killed off so quickly.

What is it with sapphic films and women getting caught masturbating? It's like a staple. What does it signify? Something to do with deviance? Lesbianism is tied to female sexual empowerment which is dangerous so masturbation (a woman being able to pleasure herself without a man) is tied to that danger?

>All it takes to get a straight woman to fuck you is some lighting tricks, a gift, alcohol and some mary jane.

<what's a little sex between friends?

Hear hear

The non sexual tension scenes are a bit boring.

Kate plays a nut pretty well.

What kind of drug does Kate use that would cause that kind of effect? Scopolamine? Seriously.

Why did Kate ruin Ezra's business deal?

Only boat boy responds to the gun shot lol. This is like an extended episode of Baywatch or something.

Just shooting the blonde in the head like that. Fucking brutal.

<date rape drug

k

<I can't believe you shot me in the foot

top kek

I could've sworn with the kickboxing scenes, Sarah would defeat Kate with some kind of killer kick to the head or something. Would totally happen if it were made today.

Poor dudebro Ezra, he seemed like a nice guy.

Well over all I would put this firmly in the tv movie category.

>>1560

wth my post posted 3 times.

Anyway, I think the story could have been more interesting if they did away with the drugging storyline (which really doesn't make any sense) and the focus was more on Sarah struggling to figure out her feelings for Kate to then find out what a loon she was.

>>1565

OH SHI–

I still have to get the Vampyres remake. Just found a 720p rif of it though, so I’ll get it ASAP!

Welp, terrible. Just terrible. The rating on IMDB is generous. That's all I can say for now.

An insult to the original.

>>1569

>The masturbation scene reminded me a lot of the one in The Neon Demon (Ruby & Jesse) – the way it cuts between the two of them it came off like they were ‘connected’ and reacting to the other.

Yes for sure. Very reminiscent of Ruby and Jesse. When I first watched it, I was unsure of if the shots of Sarah were independent of Kate. Only when it got to Sarah calling out Kate's name did I realise it was Kate's fantasy.

>It does seem to pop up again again and these films, same with the ‘dangerous girls’ element.

>Agnes in Fucking Åmål, Jessie & Ruby in The Neon Demon, Thelma in Thelma

Below Her Mouth

Single White Female

Haute Tension (from what you've told me, still haven't seen it yet)

I'm sure there are a ton others that aren't off the top of our heads.

>It may have been controversial in the 1950s, but I’m having a hard time seeing how it might be considered deviant when this film was made.

I can't think of one example of a woman masturbating over a man in movies and it shown as something that isn't 'dangerous' (except for The Bet in Seinfeld). Even then when it is referred to in media with 'straight' women it is usually mentioned in passing and as a joke. And it tends to always reference some kind of sex aid (vibrator, shower head, or something like that). Pure female masturbation (particularly the depiction of it) nearly always seems to be associated with 'dangerous' and 'deviant' girls.

>PATRIARCHY.jpeg

>Horse tranquilizers

Does K really make a person like that? Sexually active, seeing themselves having sex with someone they want, and forgetting everything but for a morning headache?

>After that we are to believe it took them two months to have that conversation? What was Kate doing while she was there?

I'm guessing she was nursing and isolating Sarah and only when Sarah is getting sick of her and about to kick her out does she try to throw it on Sarah being unable to accept his death.

>Why let a little thing like FBI raiding the yacht and accusing her date of raping and murdering a sixteen-year-old girl, right?

IKR? And she doesn't even know him. Like something like 2 months at most.

>And that whole scene with Ezra & Sara in the flower shop was something else.

Worst screenwriting ever. It's like they just choose scenes to get all information they want out at once. The flower shop scene, and the Kate confesses all scene at the end.

>I’m surprised Sara didn’t find Kate’s ‘top secret murder plans’ in the box along with the drugs and money: really immature and childish drawings with them as stick figures and their names over it (and stink lines and flies over all the guys), her getting rid of the competition, and her marrying Sarah at the end. That would at least have been funny.

Would not have been out of place AT ALL in this one.

>the only two characters I would have liked to see live.

Zoey was a bit of an idiot though. She killed someone just because she was told to. I felt bad for Ezra because he seemed to be the only one with genuine care for Sarah and without an ulterior motive.

>Let us see some conflict as Sara is torn between Kate and Dylan instead of her going thru almost the entire film completely oblivious to Kate’s romantic feelings for her.

100%.

>>1569

>H-how bad it can be though?

Think of how much effort it must take to make two women making out not attractive.

Side note, not having the anatomy I don't know the truth of this. If one were almost drained of blood, had one's leg in a bear trap for a whole day and hadn't eaten or drank water in a few days, only wine…would one still be able to get an erection as soon as a woman jumped on?

>>1570

Just realised watching the webm that Kate has a ring on her wedding finger.

>>1569

>And that whole scene with Ezra & Sara in the flower shop was something else.

Oh I meant to say as well; this movie was made at a time when mobile phones were in common use. The whole story line with the answering machine is a decade too late.

>>1579

>There is also that one scene in George A. Romero’s Survival of the Dead,

Ah yes forgot about that one.

>It does seem to be associated with ‘dangerous girls’, and maybe especially lesbians in TV & film?

I reckon.

>She was a druggie, right?

Not sure. Certainly heavy into pot but we don't see her taking anything else. Just a complete lovefool I guess.

>Oh, boy. Better brace for impact then.

It's really, really boring.

>I’ve wondered how much blood vampires in TV & film drink from their victim.

Same. It seems to vary according to each universe.

> a vampire bat has to drink its own bodyweight doesn’t it?

I thought I'd read that somewhere too but according to wikipedia

<A typical female vampire bat weighs 40 grams and can consume over 20 grams (1 fluid ounce) of blood in a 20-minute feed.

> Do remember seeing pagers/beepers around in the late ’90s, but only on US TV and films.

Yeah I don't remember them taking off here much either. By the time they were becoming more affordable, mobile phones were entering the market at an affordable price and had much more to offer.

>in fact, parts of this films did remind me of Wiseau’s writing and directing.

Lol, we just needed Sarah's mother to show up and blurt out that she has cancer. Then it would have been complete.

>>1582

>I reckon.

We could turn it into a drinking game; one drink each time a ‘dangerous girl’ pleasures herself, is the killer or villain…

>Not sure. Certainly heavy into pot but we don't see her taking anything else. Just a complete lovefool I guess.

Reefer Madness, dude.

>It's really, really boring.

Somehow I tend to be more generous if a film is older (1970s or earlier). Newer films I find boring are harder to sit thru. The original Vampyres was a somewhat slow burn, but it had my attention all thru it.

>It seems to vary according to each universe.

Strange that one varies so much, when almost everyone these days seem to have bloodsuckers who are killed by sunlight, have no reflection, repelled by religious imagery, &c., &c.

In the earlier vampire stories, ‘Carmilla’, Varney’, & ‘Dracula’, they would take their time preying on one victim who would grow weaker and weaker.

Killing a victim right away seems wasteful – one new victim each night, and they probably wouldn’t be able to drink much of the victim’s blood in one go.

<A typical female vampire bat weighs 40 grams and can consume over 20 grams (1 fluid ounce) of blood in a 20-minute feed.

It says a vampire bat who has fed expels urine within two minutes of feeding in order to fly off afterwards, still it has added around 20/30% of bodyweight in blood.

Wonder if any comedy or spoof has a bloated Dracula pissing blood after feeding in order to take off and struggling to fly back home.

>Yeah I don't remember them taking off here much either.

Bit of a shame really. I’ve always thought a pager/beeper sounded kinda cool. Wasn’t there a scene on ‘Buffy’ where Giles was ‘too old’ to know what a pager was?

I do remember Cordelia (and possibly her friends) having mobile phones in the first episode of Season 1, and that was ’96 or ’97, right?

>Lol, we just needed Sarah's mother to show up and blurt out that she has cancer. Then it would have been complete.

or Ezrea, at the beginning, feeling down ’cause the test results came and he’s definitely got prostate cancer. He did remind me a little of Denny tbh, though Kate is also trying to cockblock Dylan and watch them.

Also, how did Sara buy the ‘too stoned’ excuse? She woke up with a rose on the pillow next to her FFS.

>>1584

>And so this is how I will become an alcoholic.

Pfffft. Being an Aussie you should do just fine, right? Just a mild buzz. Unless you binge-watched the films of course, then you’d probably end up in hospital due to alcohol poisoning.

>Same. I don't know, even though the older ones may have a slower pacing, they seem to often have better foundational/technical filmmaking/storytelling know how. Or maybe I'm just rationalising it.

Most of the time it seems like there is a reason for the slower pace, the scripts were better, you’d get more into the characters, and longer dialogue scenes. Slow burn films these days tend to include more ‘padding’, just longer scenes without any dialogue or much going on, just ‘atmospheric’ scenes intended to put the viewer in a certain frame of mind. If the filmmakers are good/competent, it really works, but with most can’t pull it off.

>I think the origins of vampire stories and their depiction in current media have been pretty much severed. One victim growing weaker and weaker until death, only to then also become a vampire, fits with the idea of disease spreading through a populace, particularly through relatives and neighbours.

I read a book on vampires and werewolves (‘Nattjegere’ by Peter Haars and Per G. Olsen) on the origins of these myths, and it includes real transcribed letters written back in the early 1700s by people who genuinely believed they had a vampire plague on their hands. In one case they opened several recently buried coffins and supposedly found bodies with their burial shrouds caked in blood, and their skin undecayed, and after they decapitated the bodies, the vampire plague stopped. They had some army surgeon partake in it and sign that statement of what happened as well.

>Or, if it's a current movie not focusing on the sexual element, they focus on the monstrosity, again without context. The disease root seems to have completely vanished.

Maybe the change happened because zombies/ghouls/the undead already filled the disease/plague element in fiction? And disease and plague were hardly relevant to modern audiences, so they probably had to focus on other aspects to draw in the audience. And, as we all know, sex sells.

>Now that you've put it out there, I fully expect it to make it's way into a movie kek.

it would not have been out of place in Old Dracula.

>I don't remember, but it wouldn't be out of place for her character.

Found the scene; it is when Buffy is looking for Willow and runs into Cordelia, putting her in a chokehold and about to stake her.

They had mobile phones on Clueless (show or film or both) as well, and it seems like only the preppy, rich and spoiled cool girls had mobiles back in the mid to late ’90s.

>I do remember the first episode of season 7 where they make a big deal out of a mobile phone being used as weapon and it not working in the basement of the school or something. I wanted to shoot myself and finally gave up on Buffy.

Yeah, everything beyond Season 5 is a mess, and S7 was all kinds of terrible. Seem to recall one episode where Buffy was a teacher and ended up sleeping with Dawn’s friend from school? Think I lost interest during S6, though I did see the last two or so episodes of S7.

>Exactly. None of this makes any sense.

It’s so contrived and artificial that it shatters the suspension of disbelief. Even if she was completely clueless before you would at least think Sara would suspect something after they made love. It hurts her character when she is so naïve and clueless till Kate finally spills the bean in her lengthy villain speech at the end.

The remake of Vampyres is turning out to be a real hassle to get a hold of. Maybe I have to settle for a lowly 700MB rip instead.

>>1585

*laughing smug anime girls*

Also, shouldn’t that one be ‘bundle of sticks’?

>>1586

By draining the victim?

>>1587

>Pfffft. Being an Aussie you should do just fine, right?

tfw utter lightweight. Please don't tell the gov, they'll revoke my citizenship

>They had some army surgeon partake in it and sign that statement of what happened as well.

I do wonder about these accounts. They are often hand waved away as the locals not knowing what a decomposing body looks like, that the bodies were merely bloated (making the body appear younger/youthful) and seeping fluids/blood (making it appear like there was blood around their mouths etc). But that implies that people back then didn't know what dead bodies looked like when they probably had more day to day experience than your average Joe today right? They found Rosetti's wife something like 4 years after death in her coffin in immaculate condition. I think I read the going explanation was that her addiction to Laudanum embalmed her body or something like that.

>And disease and plague were hardly relevant to modern audiences, so they probably had to focus on other aspects to draw in the audience. And, as we all know, sex sells.

This makes sense.

>Seem to recall one episode where Buffy was a teacher and ended up sleeping with Dawn’s friend from school?

>Absolutelyjumpedtheshark.jpeg

I remember seeing Willow making out with some chick (Tara who?) and someone told me it was one of Dawn's high school friends.

>Maybe I have to settle for a lowly 700MB rip instead.

That was near the size of the one I ended up getting.

18+ Vampyres 2015 UNCENSORED English Movies BRRip XviD AAC New Source ☻rDX☻

>Also, shouldn’t that one be ‘bundle of sticks’?

Why you so and so.

>By draining the victim?

I think I recall witnesses saying victims were drained of blood. But I might be mixing the novels up with movie adaptations. Wasn't there something in Carmilla where it says she drains victims quickly except for some that she chooses to drain slowly, the ones she falls in love with?

>Found the scene;

Been trying to load/dl this webm for almost an hour :( Keep getting a server error. Will try again later.

>>1588 （ＣＨＥＣＫＥＤ）

>tfw utter lightweight. Please don't tell the gov, they'll revoke my citizenship

wew! Don’t worry, I won’t tattle on you. And even Óðinn cautioned against excessive drinking in the Edda poem Hávamál: ‘A man does well to drink without losing his wits and sense.’

>I do wonder about these accounts. They are often hand waved away as the locals not knowing what a decomposing body looks like, that the bodies were merely bloated (making the body appear younger/youthful) and seeping fluids/blood (making it appear like there was blood around their mouths etc). But that implies that people back then didn't know what dead bodies looked like when they probably had more day to day experience than your average Joe today right?

The men who carried out the autopsies in the aforementioned letter report had studied at least some medicine and probably seen more than their fair share of death in the army. Makes you wonder just what the hell they saw down in Serbia during the outbreak of vampirism…

A body buried in winter could probably remain undecayed till spring though, don’t you think? Not sure about the ‘ruddy and lifelike face’ though, I would imagine a dead body would be cyatonic. One of the bodies examined was ‘fattish’ despite her having always been skinny in life – that sounds like the process of decay, though they found fresh/fluid blood in her chest cavity, and with undecayed ‘viscera’.

Magia Posthuma: Visum et repertum: http://archive.vn/xjfj

Also, the the 2007 documentary The Vampire Princess about Eleonore von Schwarzenberg is very interesting and worth checking out: https://en.wikipedia.org/wiki/Eleonore_von_Schwarzenberg#Vampirism

Smithsonian.The.Vampire.Princess.HDTV.x264.720p.AC3.MVGroup.org

One painting of her (the one on Wikipedia) has been tampered with – she was originally depicted with a wolf: http://web.archive.org/web/20121111041413/https://www.geisternet.com/dokumentationen/mysterioese-faelle/169-die-vampirprinzessin.html

>That was near the size of the one I ended up getting.

How long did it take you to get it? Been trying for some time now, and barely over 2%.

>Wasn't there something in Carmilla where it says she drains victims quickly except for some that she chooses to drain slowly, the ones she falls in love with?

Think so! Wouldn’t it help if she stopped drinking from her loved one and only drank from other people instead, or was she unable to stay away from them?

>>1589

I’ve warmed up a lot to her since I first saw the show back in the day. There is something to the HBIC type that appeals much more to me now.

>>1591

>Makes you wonder just what the hell they saw down in Serbia during the outbreak of vampirism…

Fucking Turks man.

I found a txt by Calmet that apparently references some of these events. Will post in the lit thread.

>Also, the the 2007 documentary The Vampire Princess about Eleonore von Schwarzenberg is very interesting and worth checking out:

Working on it. 1.8% :(

>How long did it take you to get it? Been trying for some time now, and barely over 2%.

Got it in a few hours I think. It's getting more and more difficult to source anything that isn't a recent blockbluster release.

>or was she unable to stay away from them?

That and she wanted them to be with her forever, even if that meant condemning them.

>There is something to the HBIC type that appeals much more to me now.

Kek. Cordelia's character growth was enormous in the show relative to the other characters.

Also just came across a movie called Mary, Mary, Bloody Mary (1975) which is apparently about a bisexual vampiress. Shall we add it to the film club?

You weren’t kidding about the Vampyres remake…

Goodness gracious. What an atrocious and pointless mess this was. Not to mention it felt like some of the longest one hour and eighteen minutes of my life. The writing, the acting, the drawn-out filler scenes. It’s all so tiresome.

The only reason this film is in English must be because they got Caroline Munro to be in it. Her character could have been cut completely without changing the story, so I’m guessing she’s only included for name recognition. The “You don’t seem English” comment worked in the original, but here none of the characters, with the exception of Munro’s, made me think they were English.

Also, I am pretty sure Harriet was dubbed into English, same with the lady selling the house at the end.

Why doesn’t Miriam become catatonic like Fran during the day? Why didn’t Ted leave when he had the chance after the first night? What the deal with guy with the scythe in the graveyard? Why wasn’t Ted limping after he was stuck in the bear trap? What was the deal with the two necklaces he had in the box? Was that supposed to be him or one of his ancestors in the photo at the end? Why is Harriet walking around taking photos of bushes? Why does a house that small have a massive basement?

Watched Lemora: A Child’s Tale of the Supernatural from 1973 last night – what a wonderful and weird film! This was the directorial debut of Richard Blackburn (who also plays the Reverend), and it was shot on a shoestring budget, which makes even more impressive how fantastic it is. So much to discuss and unpack and analyse about this film.

>>1624

Wew lad. This revival of the lesbian psychokiller genre is great.

>>1600

>I haven’t seen much of Angel

Neither, I think I watched the first season on tv then dropped it. I heard Cordelia joined and became a deity somehow.

>The trailer is a right mess, and it seems like a mishmash of genres and themes…

I hadn't even seen the trailer only read a reference to it. Definitely not what I was expecting. You're right, it looks like a complete mishmash. I wonder if the movie ends up being completely incoherent.

>Enter the Void

Nothing's coming up with a search of the title and 'lgbt'. Might be fun to check out anyway.

>Lemora

>So much to discuss and unpack and analyse about this film.

Working on getting a copy.

>>1597

Couldn't help but think of us anons when viewing the three in the tent talking about their composing, writing, and photography. Then what do you know she brings up Shelley, Byron, and Polidori. You, robertsfag, and I need to go on some kind of adventure where we can set out creative talents free.

<Torture to make them taste better

All bug people need to be exterminated

What even is the point of the guy? Is he a priest? A vampyre hunter? Did Miriam die? What happened to Harriet?

>The only reason this film is in English must be because they got Caroline Munro to be in it. Her character could have been cut completely without changing the story, so I’m guessing she’s only included for name recognition.

Yep I reckon.

>The “You don’t seem English” comment worked in the original, but here none of the characters, with the exception of Munro’s, made me think they were English.

It made absolutely zero sense.

>Why doesn’t Miriam become catatonic like Fran during the day?

I also wondered that about the original when Harriet went down into the cellar.

>What the deal with guy with the scythe in the graveyard?

I KNOW RIGHT. Like just added for scenery.

>Why wasn’t Ted limping after he was stuck in the bear trap?

Weakest bear trap in history. In the threesome scene there is this thin line on his leg as if it's a scar from 20 years ago as opposed to him having been caught in a bear trap hours earlier.

>What was the deal with the two necklaces he had in the box? Was that supposed to be him or one of his ancestors in the photo at the end?

I was so over it at the end, just rolling my eyes at those two scenes. I doubt event he film makers know what they were trying to say.

>Why does a house that small have a massive basement?

That made me laugh when we first see the basement and it's like the set design from something out of Alien. I did like at least the effort in that setting even though it didn't make physical sense. Some of the setting shots were nice from memory. Hope principle photographer goes on to better things than this mess.

Also expected something to happen to Harriet when she was on the boat, especially when the boat reached land. But no…just shows nothing happening.

So with the vats, is that to imply they made the wine themselves out of human victims? despite keeping the Carpathian origin comment in?

>>1645

>Angel as a character never sat right with me

Same, I never liked his character. He was always reactive, a shitty person forced by a spell to feel remorse.

>Lemme know if you find a HD one.

I was able to find a dvdrip version at 640x352. Be good enough for watching I guess.

>a real shame he hasn’t made more films!

So funny was just thinking about the director of The Night of the Hunter who also only directed that one movie. And then Richard Blackburn brings up Night of the Hunter in the embed half a minute later. Have you seen it? Great film.

>Imagine how awkward it’d be to be the third wheel in the group and try to sleep in a tiny tent while your two friends are kissing/fucking right next to you.

IKR? You would obvs bring a separate tent.

>but then why did he come alone and unarmed? He found that crossbow by accident, hanging on the wall – what kind of a moron would enter the den of two vampiresses unarmed if he already knew the risk?

Makes me think of Sadie in Compulsion.

>Harriet’s ending reminded me a lot of the ending to Let’s Scare Jessica to Death…

Yes, was thinking the exact same thing.

>>1645

I don’t have any creative talent

>>1100

>>1651

>Same, I never liked his character. He was always reactive, a shitty person forced by a spell to feel remorse.

Absolutely, if not for the soul that was forced upon him he would once again be a monster. And it annoyed me how easily he was forgiven for everything he’s done (including killing Miss Calendar), but Faith is vilified for accidentally killing the Mayor’s assistant and isn’t forgiven(?) till S7 or thereabout. And what good does a soul in this show do anyway? Faith has one but that didn’t stop her joining the Mayor. It only comes across as a flimsy excuse to allow bloodsucking monsters to interact with mortals without draining them, similar to how Spike was basically castrated by the chip implanted in his head.

>And then Richard Blackburn brings up Night of the Hunter in the embed half a minute later. Have you seen it? Great film.

No, I hadn’t even heard of it before. According to Wikipedia the main character is a minister, and it takes place in the 1930s – just like Lemora. The French film magazine Cahiers du cinéma selected The Night of the Hunter as the second-best film of all time! Will check it out.

>IKR? You would obvs bring a separate tent.

Or, maybe you’d get lucky and the two nice ladies who live in the nearby mansion would let you stay with them?

>Makes me think of Sadie in Compulsion.

Sorta – I wonder how much it is implied Sadie knew/remembered. I got a new 1080p rip of it a while back, and I’ve been meaning to give it another watch in the hopes of ‘getting it’ this time around.

>Yes, was thinking the exact same thing.

Would not be surprised if the hacks that made the remake threw that in as a lazy ‘homage’ to LSJtD when they didn’t know how to end the damn film.

>>1652

That was just shitposting. Unlike certain other anons I know, who are photographers and drawfags/painters, I couldn’t finish a story to save my life, much less draw anything more complicated than a stickman. At best I’m an ideas guy.

And now, my take on Lemora: A Child’s Tale of the Supernatural –

massive spoilers ahead

As the director has stated, part of his literary inspirations include HPL’s ‘The Shadow over Innsmouth’ (the bus scene, the town overrun by bloodsuckers/monsters, and escape from the mob in particular), and maybe the HPL story ‘The Festival’ (the talk about a ritual far older than any Christian tradition). The story/theme is also similar to The VVitch (2015), about a young woman/girl raised in a strict Christian home who goes through a truly tormenting ordeal and comes out liberated of the strict limitations and embracing her newfound freedom.

There is another theme the two films share as well – a girl growing up into a woman; in The VVitch the younger brother starts noticing his older sister’s breasts, and in Lemora, the preacher notices Lila developing into a woman as they study the Bible together.

The ancient blood ritual she has to go through could be symbolic of her getting her first period, thus ‘becoming a woman’. However, the ritual is likely to be symbolic of the loss of virginity and thus ‘becoming a woman’ in the sense of being sexually active – the bite of a vampire is of course symbolic of both a kiss and sexual intercourse, and after the ritual Lila, now a vampiress, inhabits the ‘vamp’ characteristics as well; a seductive female, no longer a child, aware of her sexuality and attractiveness and power over men (and women), and not afraid to use it.

Of course, this is all internal – an epiphany. She has become aware of her strengths and is no longer held back by the

So, in a way it is also a sort of coming of age film.

It is a very refreshing combination of exploitation film and artsy indie film – it shows a lot of restraint

The sapphic element… Does Lemora have romantic feelings for Lila, or motherly? Or both? The diary Lila finds seem to indicate that this is something she does ‘regularly’, guiding (for the lack of a better word) children through the transition into adulthood.

There could be a nod to F. W. Murnau’s Nosferatu – Eine Symphonie des Grauens (1922) – it does seem like Lemora doesn’t blink at all, similar to actor Max Schreck as Nosferatu?

>>1659

My expectations were low, and I was still disappointed. It only comes off as overcompensating when they have to mention that she is a female superhero, like this is somehow something new, progressive and unheard of.

This trailer made me want to give the 1960s Batman show a watch, and to keep watching Batman: The Animated Series.

>>1660

>This trailer made me want to give the 1960s Batman show a watch, and to keep watching Batman: The Animated Series.

Either of those I'm sure would be a salve compared to this dreck.

<It will be…when it fits a woman…

Look, I know people are dumb but not even the most normal of normal fags is buying this shit.

>>1656

>It only comes across as a flimsy excuse to allow bloodsucking monsters to interact with mortals without draining them, similar to how Spike was basically castrated by the chip implanted in his head.

Yep. So contrived. At least Spike had some kind of character that made sense and some kind of appeal. Angel was an asshole. With and without a soul.

RIP Ms Calendar

>Will check it out.

It's one of those movies that stuck with me and I can watch again and again.

>I’ve been meaning to give it another watch in the hopes of ‘getting it’ this time around.

If you do, let me know the answers!

>And now, my take on Lemora: A Child’s Tale of the Supernatural

I will read this after I've watched the film. Hopefully get to it tonight or this weekend.

>>1656

>I couldn’t finish a story to save my life, much less draw anything more complicated than a stickman. At best I’m an ideas guy.

>I couldn’t finish a story to save my life

There's no harm in practicing right?

That reminds me, I was thinking we could start a writing prompt thread, one of those collab. games. Post 1 writes something, post 2 carries it on etc. Even if it's absolutely crazy or utter dogshit we could just try to keep up input, even if it's only a sentence. It could trigger some good ideas for other projects.

>>1656

>She has become aware of her strengths and is no longer held back by the

Held back by the what? Held back by the what!?

>So, in a way it is also a sort of coming of age film.

Agreed.

>The sapphic element… Does Lemora have romantic feelings for Lila, or motherly? Or both?

I was wondering the same. I think, through a contemporary hollywood lens it would definitely be seen to have a sexual element. Through a more innocent lens, just motherly. But as you mentioned, the vampire bite is symbolic of intercourse and she frequently focuses on Lila's beauty.

Why is Lemora so obsessed with Lila? Was it because she wanted to corrupt something pure? Or did she want to make a non-beastly vampire?

>it does seem like Lemora doesn’t blink at all, similar to actor Max Schreck as Nosferatu?

Yes, now that I think about it, Lemora is very reminiscent of Nosferatu. I imagine we'd be able to match up some similar if not near identical frames side by side as well (in terms of how she is shot).

>The story/theme is also similar to The VVitch (2015), about a young woman/girl raised in a strict Christian home who goes through a truly tormenting ordeal and comes out liberated of the strict limitations and embracing her newfound freedom.

In that end scene, is Lila back in church singing and secretly a vampire? Or is it a flashback? Lila doesn't look sick post-transformation like everyone else does which I thought was odd.

<Asteroth

Isn't that the name of a star or galaxy or something?

What's up with the beasts versus refined vampires story? So how you turn out depends on your character? So Lemora turned the ganster just to get to his daughter, but why not just kill him or not infect him if Lemora knew he was wicked and wickedness turns people into the creatures? Maybe it is more of a toss up?

>The diary Lila finds seem to indicate that this is something she does ‘regularly’, guiding (for the lack of a better word) children through the transition into adulthood.

I was wondering if the old woman who couldn't die was the child referred to. Like a The Hunger situation, when they suddenly age but don't die, so Lemora moves on to a new victim.

I can't be the only one who see Elle Fanning in Lila right?

>>1668

The Game, obviously. Alternatively, I’d just write some rehash of how she’d no longer be held back by her religious upbringing and the strict moralism of 1930s Deep South, especially given who her father is.

I hadn’t paid any attention to this before it was pointed out on the audio commentary track: There are only women in the congregation – Dick says that this was deliberate, but he couldn’t remember why he chose it, though that it “just seemed right”. It seems appropriate somehow, given the theme of a girl growing up/becoming a woman, who unlike the rest of the congregation has been ‘liberated’ or aware of the power of her seductiveness, and likely won’t be afraid to use this to her advantage. A true ‘vamp’.

>Why is Lemora so obsessed with Lila? Was it because she wanted to corrupt something pure? Or did she want to make a non-beastly vampire?

On the audio commentary track Dick & Lesley (Lemora) seems to suggest that the Reverend & Lemora are representative of forces vying for the soul, trying to pull her in different directions.

>Yes, now that I think about it, Lemora is very reminiscent of Nosferatu. I imagine we'd be able to match up some similar if not near identical frames side by side as well (in terms of how she is shot).

Indeed. The scene where Lila first sees Lemora has got to be a deliberate homage/reference to Nosferatu; Lemora enters the room in a very similar fashion to Count Orlok when he slowly enters Hutter’s room at night to drink his blood. And Lila holding a mirror and not seeing Lemora’s reflection is possibly a reference to Stoker’s ‘Dracula’, where Harker is shaving and doesn’t see the Count coming up on him from behind due to his lack of reflection in the shaving mirror.

>In that end scene, is Lila back in church singing and secretly a vampire? Or is it a flashback? Lila doesn't look sick post-transformation like everyone else does which I thought was odd.

I interpreted it as Lila going thru an inner journey, and accepting her ‘vamp’ persona at the end, which would mean that most of what we see takes place in her mind.

>Isn't [Asteroth] the name of a star or galaxy or something?

When was that brought up? Can’t remember it tbh. According to Wikipedia Astaroth is the ‘Great Duke of Hell’, and is ‘most likely named after the Mesopotamian goddess Ishtar’: https://en.wikipedia.org/wiki/Astaroth

>What's up with the beasts versus refined vampires story? So how you turn out depends on your character?

That seems to be it; maybe that is why Lemora tries to change children, who are pure and innocent, and are more likely to become vampires, rather than wicked and corrupted grownups, who are more likely to become ghouls?

>I was wondering if the old woman who couldn't die was the child referred to. Like a The Hunger situation, when they suddenly age but don't die, so Lemora moves on to a new victim.

I hadn’t thought about that, but that makes a lot of sense. And it is exactly what happens in ‘Låt den rätte komma in’ (‘Let the Right One In); the vampire Eli is too small to live as she wants, so she has someone to help her (Håkan). By the time of the book/film he has become too old, and she starts grooming Oskar into taking his place – this is left open to debate however; does she really love Oskar, or is she using him and planning to keep him around till he grows older, and then eventually replace him as well?

>I can't be the only one who see Elle Fanning in Lila right?

It didn’t strike me when I watched it, but I can certainly see it now that you’ve pointed it out; young, innocent blonds who captures the attention of a far-older vampire/witch(?) who clearly has feelings for her and stays with her in her house – there is even similar scenes of Lemora/Ruby brushing her hair and making a ‘move’.

>>1665

>Think I’m gonna have to pass on this show tbh – too woke for my tastes.

Yep, seems to be he way with most everything promoted atm. Have we reached peak Weimar?

>Not a fan of the grimdark take on superheroes we’ve seen either – it should either be fun & camp like the ’60s Batman & Batman & Robin or stylised & different, like the Burton Batman films, and probably whatever NWR’s Batgirl film would be.

Agreed.

>Btw., didn’t Miss Calendar call herself a techno pagan or some such thing?

Yes, some kind of cyberwitch. F

I didn't even realise there was an animated series with the actors voices. Seems like it's a rehash of the earlier seasons.

>Coraline from 2009.

The one where people have the button eyes? I've only ever seen snippets and parody references. Guess I'll add it to the list.

>Though this will likely come back and bite me in the ass; tend to cringe when I read through what I have written and end up never finishing it or look at it again.

Me too, me too. But we'll never get anywhere without practice will we? In just over a month I should have some downtime and be able to participate more. Will try to start a thread soon.

>>1700 (checked!)

>Have we reached peak Weimar?

If not, we are pretty damn close. Just hope it can be reversed before we have passed the event horizon – if that is even possible at this point.

>I didn't even realise there was an animated series with the actors voices. Seems like it's a rehash of the earlier seasons.

The Animated Series never took off – the three and a half minute short promo leaked online in 2008, and you can see some of Eric Wight’s artwork for the show (https://www.flickr.com/photos/ericwight/). SMG was the only one who wasn’t set to voice her character for the Animated Series – Giselle Loren, who had voiced Buffy for the video games, was cast instead, and it is her voice in the short promo.

It was set during S1 of the actual show, I believe, and Dawn and Angel were supposed to be in it… Guess it was for the best that it never developed past the promo – despite going for a similar artstyle to Batman: The Animated Series, the tone of it seems to have the Whedon style of speaking and humour, even more so than the actual show, based on the promo, interviews and script excerpts.

>The one where people have the button eyes?

Yup, that is the one. Directed by Henry Selick, who also directed The Nightmare Before Christmas. On the blu-ray you can easily see the little telltale signs of the stopmotion animation process; tiny specks of dust, the fur of the cat changing as the animators move it, &c.

Got a hold of The Night of the Hunter btw., hopefully gonna be able to give it a watch soon.

>But we'll never get anywhere without practice will we?

Wake me up / Can’t wake up

>>1701

>if that is even possible at this point.

>>1685

>The Game

>>1702

True that. There are a few flashes of hope every now and then, but I am pretty blackpilled at this point.

>>1703

Diplomatic immunity!

>>1704

>Your interpretation makes sense.

Yay! I love making sense.

>Seems to be an uneven fight. Lila isn't given much of a choice, and the preacher doesn't stand much of a chance.

Perhaps a rather bleak take on the world; innocence cannot survive into adulthood?

>Do we ever even see Lila submit to her in the way she does to the preacher?

I think so, in what is probably my favourite scene in the film: Lila is mourning the death of her father, whom she was forced(?) to stake and kill. Lemora calls out to her and says “You cannot kill me. I am the unkillable. My spirit is the strongest ever, no matter by which name I am called. I am recognised as the most powerful in the hearts of all. See, you are the killer, not I.”

This makes it clear, IMHO, that Lemora is a part of Lila’s personality that is emerging with her puberty and into womanhood. Lila asks her “What are you?” as Lemora holds her and removes her cross necklace. Lemora responds with “I am whatever you want me to me,” before she leans in and bites her.

>So she slept with the pastor in her mind but he's still alive?

Saw it as her accepting the power she holds over him, or the attraction between them. Before she is bitten by Lemora she is extremely innocent and naïve, so she has no idea about romance/sexuality. On the audio commentary Dick said that the ending was originally quite different though – bringing it all back to the church and the congregation was not what they had planned…

>She's conceptualised this big battle and come into her sexuality. Now she has to deal with wanting the preacher kek.

Quite so. Love is a battleground. Did you listen to the audio commentary? If so, did you buy Dick’s ‘pen excuse’?

>When Lila is coming t the dead town, the bus driver calls it that a few times I think.

Interdasting. The possibility of the goddess Ishtar being corrupted and turned into a god (Astaroth) is also interesting, especially since Lila imagines(?) a woman in her mind, instead of a suave male vampire(?) trying to corrupt her…

>>1706

>innocence cannot survive into adulthood?

That's a better take than to forces vying for the soul I think.

>This makes it clear, IMHO, that Lemora is a part of Lila’s personality that is emerging with her puberty and into womanhood.

It certainly puts some sense into the story.

>Did you listen to the audio commentary? If so, did you buy Dick’s ‘pen excuse’?

No, only in the clip you posted. What was the pen excuse?

>especially since Lila imagines(?) a woman in her mind, instead of a suave male vampire(?) trying to corrupt her…

Well it's a great fit if we see Lemora as a facet of Lila that she is a woman.

>the possibility of the goddess Ishtar being corrupted and turned into a god (Astaroth) is also interesting

Also the whole judaic feminine plural. So Ishtar went from being a powerful goddess, appropriated into goddesses? and then turned into a male demon. Top kek. What even.

>>1709

>What was the pen excuse?

Have a listen.

Also, on the audio commentary track Dick mentions an interesting bit that I had overlooked and forgotten about: when the Reverend arrives after the big battle has been fought and is searching for Lila, the scene matches the song of the old woman from earlier: “She walked on through the streets of town, where all the dead lay on the ground.”

The song also features a parson, which connects the song and the ending further. If, as you suggested, the old woman is the one who wrote the diary entry Lila finds, it could be her song is a retelling of what happened to her during her ‘inner battle’.

Dick has said the song was one his own grandmother scared him with as a child, and suggested that it was an old folksong from England, possibly about the/a plague (the Black Death?).

In any case, I really liked how it foreshadows the ending, that was a nice touch IMHO.

>Well it's a great fit if we see Lemora as a facet of Lila that she is a woman.

How does the male Reverend figure in this then? Why wouldn’t her temptation also take the form of the Reverend? Assuming she is straight of course.

>So Ishtar went from being a powerful goddess, appropriated into goddesses? and then turned into a male demon. Top kek. What even.

Turning old gods/goddesses into daemons is not uncommon when a new religion takes over/is forced on a population, but I don’t think I have heard of a goddess being turned into a god/male daemon before. That certainly sounds unique.

>>1710

>Have a listen.

Lol, I believe him.

>How does the male Reverend figure in this then?

As the object of her desire he exists as himself, separate from her. While Lemora is a manifestation of Lila's I guess?

>Why wouldn’t her temptation also take the form of the Reverend?

If the reverend weren't real then I guess she could conjure up a male seductive fantasy but I assume the reverend is a real character like her and so she doesn't need a male figure to fulfill that role.

I'm confusing myself now.

>I don’t think I have heard of a goddess being turned into a god/male daemon before. That certainly sounds unique.

I wonder how many other times it's happened with illiterate translations and misunderstandings.

>>1712

I'm fucking dying here.

>>1714

Wouldn’t be the first female Robin.

If Bat(wo)man sought help from street boys (and girls) to get info, like Sherlock Holmes’ Baker Street Irregulars, that would actually be a neat idea IMHO.

>>1713

I am actually somewhat tempted to watch this show now. Based on what we’ve seen so far, this could be an unintentional comedy show – Ruby’s facial expressions are just so out of place! Look at her face just after the cop guy talks to her, and again right before she gets on her bike. Pure fried gold! This should could be a potential goldmine for reaction images – and cringe!

>>1715

>Ruby’s facial expressions are just so out of place!

I swear to god she is an animatronic of some kind.

>Pure fried gold! This should could be a potential goldmine for reaction images – and cringe!

You just know we would end up addicted to and invested in it.

>>1716

>I swear to god she is an animatronic of some kind.

Either that or she is possessed by a daemon.

>You just know we would end up addicted to and invested in it.

That is a very real risk. Are you willing to take it?

Also, saw this poster by chance yesterday on a blog, and my first thought was ‘great, another one of those sappy romantic comedy in which wacky hijinks happen before a wedding, filled with eccentric and loveable relatives as supporting characters!’. Then, after a second or two, I noticed that she (Heigl) is walking down the aisle towards another bride, and I thought ‘great, another one of those sappy romantic comedy in which wacky hijinks happen before a wedding, filled with eccentric and loveable relatives as supporting characters, but this time it’s also sapphic!’

Based on the trailer I think I am correct: https://www.invidio.us/watch?v=MsRh-PTeXzw

Maybe it is worth watching if you like Alexis Bledel?

>>1660

1960s Batman is fetish fuel

>>1757

Oh also obligatory pic

>>1756

There's an insanely hot teacher at school who wore skin tight leggings yesterday and stood directly in front of me while I was sitting down. I wanted to die.

Also gonna drop this short sapphic kino here

Also one more thing about Thelma, the sister wanting to get rid of her baby brother and ending up having her wishes come true part kinda resembles Labyrinth (1986).

And it's impossible to think about that movie without thinking of webm related.

I finally watched Vampyros Lesbos tonight. In choosing Linda, Nadine chose…poorly.

>>1803

>Elsa Martinelli

Cheers! I didn't realise this has one of the main actresses from Blood and Roses. Excited!

>>1836

Also, the opening titles reminds me greatly of Picnic at Hanging Rock.

>>1836

According to Wikipedia the show has never been rebroadcast in its entirety in the UK, but it did get a VHS release in 1981, and at least two DVD releases later on. Did it get a VHS release Down Under, or maybe it was broadcast later on there?

Would have loved to experience this show at the same age as the “kids” in the show – it is the show that gets the imagine going. The theme of individualism vs the collective is more relevant than ever – fitting in and becoming another cog in the machinery, or trying to stand up for one’s believes.

The ending indicates that the town and its happy inhabitants are trapped inside a time loop, with events doomed to recur with similar personalities; hence not-Hendricks showing up at the end to continue the new cycle. Finally got around to seeing The Ghoul (2016) a few weeks back (the one with Alice Low from Garth Marenghi’s Darkplace), and it deals with time loops as well – really interesting and cool film, with a knock-out performance by the lead. Iain Cuthbertson, who plays Hendricks, also starred in another ’70s TV-movie about stones – The Stone Tape from 1972, a weird and wonderful blend of supernatural horror/ghosts, and again with science-fiction elements.

The big climax of the seventh episode reminded me of the opening of The Texas Chain Saw Massacre (1974);https://www.invidio.us/watch?v=LSaRFYaw72Q

The sudden, blinding flash of light with the unsettling sound, along with a quick close-up of someone. If they wanted to really freak out the kids watching they should have shown quick cuts of the people exposed to the light being turned into dusty, ash-shapes, like the plaster casts found of the victims in Pompeii, their faces forever frozen in agonised terror; some trying to crawl away, others attempting to shield themselves from the blast of light and crumbling to dust.

The show was based on a book, and in 2000-something they wrote a sequel to it – really want to check them out, at least the first one – hopefully it fleshes out some parts and characters. I’d love to see more of Hendricks and how he came to continue this cult.

There are some extras on the CotS DVD: a picture gallery, and two featurettes with interviews of Gareth Thomas (Adam), and the director Peter Graham Scott.

BBC Radio 4 - Happy Days - The Children of the Stones: https://www.bbc.co.uk/programmes/b01n1rbx

Gareth Thomas discusses Children of the Stones by fantom publishing | Free Listening on SoundCloud: https://soundcloud.com/fantompublishing/gareth-thomas-discusses-children-of-the-stones

Interview With Jeremy Burnham (Children Of The Stones, 1977). – Celluloid Wicker Man: http://archive.vn/pahPR / https://web.archive.org/web/20150304064854/https://celluloidwickerman.com/2015/03/02/interview-with-jeremy-burnham-children-of-the-stones-1977/

>>1837

The opening music is quite effective at setting the tone already with the title sequence; the composer wanted the choral group the Ambrosian Singers to sound like a chant that would have been performed at the megalithic stone circle – that’s why there are no words, and only one clear voice humming a melody, with the other voices being all over the place.

Also, the scene of the serpent on the baptismal font in the church reminds me a lot of a scene from the doorway of Hylestad Stave Church, showing Sigurðr’s battle against the dragon Fáfnir.

https://en.wikipedia.org/wiki/Fafnir

Kinda surprised they didn’t go with a ouroboros on the font in the show.

Ancient serpent shaped mounds made to mark certain astronomical events seem to be common in several cultures across the globe…

SERPENTINE: An ancient solstice monument in Ontario | OTTAWA REWIND: http://archive.vn/Rrn7T

Ummmmmmm, did we ever talk about The Blood Spattered Bride as a Carmilla adaptation? It looks like it would be a fun nudetastic, gory, sapphic adventure. Though in reading the synopsis it hardly sounds like an actual adaptation and more of CINO.

https://www.imdb.com/title/tt0069029/

I'm unsure of if the trailer is trying to mislead viewers or just summarised the entire film so caution is advised if you watch it.

https://invidio.us/watch?v=YVJ8jlJdeCU

>>1865

We are now at least! Came across a film whilst browsing moviechat.org that might be worth a watch too: The Bat (1959) with Vincent Price. There was a thread discussing a possible lesbian relationship in the film, and I was already going to watch it because Price is in it.

And one of the cannibal women in Massacre in Dinosaur Valley (1985) seems to have a thing for the fairer sex. I think the trailer gives too much away, but it looks like a fun B-movie with Michael Sopkiw and the same theme music from his previous film, Blastfighter (1984).

The poster and some of the stills I have seen of Fangs of the Living Dead (1969) make it seem like the vampiress in it could be into women for more than their blood: http://wrongsideoftheart.com/2017/02/fangs-of-the-living-dead-malenka-1969-spain-italy/

>>1839

> If they wanted to really freak out the kids watching they should have shown quick cuts of the people exposed to the light being turned into dusty, ash-shapes, like the plaster casts found of the victims in Pompeii, their faces forever frozen in agonised terror; some trying to crawl away, others attempting to shield themselves from the blast of light and crumbling to dust.

Came across this quite by accident. Was very pleasantly surprised by it too – it’s not half bad considering the budget and that it is a direct to video film. There are some very questionable choices they’ve made that should have been altered/cut, and script could need some rewriting here and there, but it is quite enjoyable.

David Carradine probably shot all his scenes during one afternoon, and Sydney has got to be an alcoholic; she’s working her way though a glass of red wine in almost every scene.

The Last Sect (2006) - Trailer: https://www.invidio.us/watch?v=soiaPRVBp7o

The Last Sect – Full film on YT: https://invidio.us/watch?v=71zExZXLIDA

>>1868

>So did they get turned into stone? Is there a version of time where that still exists and the father and son jumped into a different time stream? Are the stones in the different reality they jumped into people from a previous time? Why did the black hole that sucks peoples capacity for "evil" turn people into stone when Hendrick's fucked up the ceremony. Why did Hendricks become an old man?

Those are all excellent questions. Wish I had any good answers to go with them.

According to the Wikipedia article Hendrick changes/flashes back to the original magus/priest. As for the villagers turning to stone… They have already been exposed to the beam of light once, so there is no evil/induvidiality left to remove/suck out, so they are reduced to conduits for future rituals?

>Children would have been traumatised with that much detail. People still talk about how they were messed up from watching the armageddon scene in Terminator 2 as children kek.

>>1870

Pffft! They would get over it. Eventually. Probably.

As long as you don’t show any blood you should be good. I’d say “fuck it!” and just go for broke, showing the villagers like the mummies in the Museo de Leymebamba in close-up: https://web.archive.org/web/20200106120331/https://www.atlasobscura.com/places/mummies-of-museo-leymebamba

Imagine all the angry phone calls from the parents afterwards

>Perhaps because, as it was pointed out in the show, it was created by the Christians warning the pagans. So they wouldn't use an ouroboros. Or they just didn't think of it.

Interestingly the village church in Avebury where they filmed the series was built outside the stone circle, but in the series it is located inside. Usually churches would be built over pagan places of worship to show dominance, but no so in this case.

Found a top 10 list of the best lesbian vampire films on YT, and this one stood out: Vampire Diary from 2006 is a low-budget English found footage lesbian vampire film!

Vampire Diary - Movie Trailer: https://www.invidio.us/watch?v=naheL6LvD2M

>>1934

Be on the lookout for some familiar paintings in Anna’s office in The Last Sect. I recognised the Wounded Amazon (1903) by Franz Ritter von Stuck on my first viewing: >>1005

And stay safe down there! Every day it seems like things are getting worse.

>>1935

Cheers! For some reason I can’t phonepost here at all; the vch.moe bunker works prefectly though.

Saw a thread over on /v/ about Ron announcing the new URL publicly. Hopefully the QAnon boomers will stay in their containment boards.

Remember that Fulci sapphic kino I set you guys up with, Una sull'altra?

Turns out there's an old /film/ thread that opens up with it: >>>/film/5216

As expected even though the thread has lingered since 2015, it moves at a glacial pace. The average /film/ anon seems to feel like "sleazy" films are beneath them.

We should watch it at some time but I won't be able to do it for at least a couple of weeks I think.

Also I got a funny captcha. When did we go back to six characters?

>>1937

>The average /film/ anon seems to feel like "sleazy" films are beneath them.

Wasn't /film/ created as an alternative to the entirely too plebeian /tv/? Or is that something I made up in my head?

>We should watch it at some time

I'll try to watch it soon.

>>1938

>I suggested The Sinful Dwarf (Dværgen) from 1974 in that very thread. That could be the title of a Hotwheel bipoic.

Top kek mate.

>I am pretty pretentious, but I do appreciate some good sleaze and trashy ripoffsploitation/exploitation too.

Nothing wrong with a bit of sex and violence.

>>1937

>Turns out there's an old /film/ thread that opens up with it:

>>>/film/8407

Wew lad, 5+gigs of sleaze webms from /tv/.

>>1906

>Was very pleasantly surprised by it too

Just watched the trailer. Please tell me the kissing scenes are as good as they look in the trailer. Dios mio.

>>1953

I think you will be very pleased with the film, and it should provide ample material for /sapphic/ approved WebMs.

There is one scene where someone decided to cut from the two of them kissing to the vampire hunters planning how to attack and then back to the kiss. Ruined the moment!

The audio is a wee bit low on the YT version. Not sure if there is a Blu-ray release of it, or how easy it is to find a torrent of it.

>>1954

>Love it, what a riot.

As long as I don’t have to man the help desk and answer the calls I’d do it. No doubt I’d never be allowed to make children’s television again after that.

>Interesting. Perhaps a wiser and kindlier Christian decided not to act like a barbarian and left the circle as is out of respect.

Yes, quite. Perhaps the peoples of the area still felt some respect and reverence for it after they converted, or were forced to convert.

>>1960

>The Last Sect

Hahaha I just started it and it opens with Bill Van Helsing on the flute.

>>1960

>There is one scene where someone decided to cut from the two of them kissing to the vampire hunters planning how to attack and then back to the kiss. Ruined the moment!

I see what you mean. How annoying! I could see that kind of editing working if the other scene were someone close to Sydney trying to save her but not getting there in time or something, not some monologue by the hunter.

>The audio is a wee bit low on the YT version.

Yeah it seemed like the audio mixing was a bit all over the place at points.

Ok my running commentary

>They can be seen on video

Interesting

<It's not film genius, it's digital

Umm ok

>Not sure whether annoying man will die early or help in saving her.

>The audio totally won't show up on the audio recorder.

Welp neither of these things occurred. Strike out.

>Blavatsky the psychic

lol

Her future is the moon?

Why are they practically all female?

Nice soundtrack

Around 30 mins in

>In the house in a heart beat

I hope John Murphy is credited

The fuck is the side kick? Creepy as fuck. Wouldn't an esteemed vampire hunter choose an intelligent and capable side kick?

>Oh please, don't tell me Van Helsing is somehow a grand child of the high vampiress…

Strike out again!

He's never used the device before and has no idea how it works but now he knows what it means when it glows…

I'm going to guess that she does end up becoming their defender as a twist ending.

Ok I was close.

Her friend is the biggest Megan Kelly. I thought her friend was her roommate at first.

Significance of the name St. James?

Lol like the security guard wouldn't hear her feet clomping from a mile away.

The FUCK is the mutant zombie male vampire thing that shows up for a few frames at the start and then attacks the guard? Reminds me of Lemora where some of them end up as beasts. Seems like in this universe it only happens to the men kek.

Digging the assassin. He's totally making this movie.

K-Stew vibes from Sydney but without the dead eyes.

Wouldn't Syd be like 50 by the time their hibernation is up And she couldn't join them before the hibernation because then who would protect them?

Awh I didn't want to see the assassin die, and fucking Tone live. No fair. BTW I thought his name was Tome (like a book) until I checked the credits.

Some protector you turned out to be Syd.

What is the significance of the ocean scene?

So she becomes the new head vampiress like in The Hunger?

Fucking great soundtrack.

Enjoyable. Good recommendation anon. It kind of felt like watching Carmilla on yt back in the day at points.

Argh I thought I posted this ages ago and was on other tabs only to see I need to fill out the captcha again. Failed 3 times.

>>1964

>I see what you mean. How annoying! I could see that kind of editing working if the other scene were someone close to Sydney trying to save her but not getting there in time or something, not some monologue by the hunter.

They should release a Director’s Cut or a fan-edit of the film where they re-edit it to avoid situations like this. The talk about wooden bullets reminded me of the charcoal bullets in Ultraviolet.

>Her future is the moon?

Sydney’s tarot cards:

Queen of Pentacles: https://teachmetarot.com/lesson-1/lesson-3/the-queen-of-pentacles/

The Eight (VIII) of Swords: https://teachmetarot.com/part-1-minor-arcana/lesson-8-the-four-fours/the-seven-vii-of-swords/the-eight-viii-of-swords/

The Tower: https://teachmetarot.com/part-iii-major-arcana/lesson-7/the-tower-xvi-upright/

Ten (X) of Swords: https://teachmetarot.com/part-1-minor-arcana/lesson-9-the-four-fives/nine-ix-of-swords/ten-x-of-swords/

Three (III) of Swords: https://teachmetarot.com/part-1-minor-arcana/lesson-6-the-four-twos/three-iii-of-swords/

[one unknown card]

Ace of Swords: https://teachmetarot.com/part-1-minor-arcana/lesson-5-the-four-aces/ace-of-swords/

The Moon: https://teachmetarot.com/part-iii-major-arcana/lesson-7/the-moon-xviii-upright/

The Moon card seems to represent a “powerful yet unnerving energy” and facing one’s fears and move forward regardless. The Tower also appears to be a very ominous card: “When The Tower appears in a reading sudden change is coming and there is no way to avoid it. This change could be quite brutal, unexpected and destructive.” Three (III) of Swords appear to symbolise or promise heartbreak, tears, angry words. The Moon is also symbolic of night, and seems to fit well with the nocturnal vampiresses and their forthcoming decades long torpor.

>The fuck is the side kick? Creepy as fuck. Wouldn't an esteemed vampire hunter choose an intelligent and capable side kick?

I think they made it seem like David Carradine was doing more of the fighting in the trailer – using scenes with this assassin?

>Lol like the security guard wouldn't hear her feet clomping from a mile away.

That security guard is useless. Someone manages to get in right under his nose at least twice. Guess this is why they want better security (i.e. Sydney), if they plan to go into torpor for twenty-five years.

>The FUCK is the mutant zombie male vampire thing that shows up for a few frames at the start and then attacks the guard? Reminds me of Lemora where some of them end up as beasts. Seems like in this universe it only happens to the men kek.

The characteristics of the sexes are apparently maxed out by vampirism: women are beautiful, seductive, sexy – men are turned into monstrous, raging beasts… Like you pointed out it is very reminiscent of ‘Lemora’. If I remember correctly there were only monster-men in ‘Lemora’ too, and that was a change that worried Lemora – in this film the change seems intentional on the part of the vampiresses… Why couldn’t they make do with the typical hypnotised/mind-controlled human helpers?

>Wouldn't Syd be like 50 by the time their hibernation is up And she couldn't join them before the hibernation because then who would protect them?

Maybe drinking blood would have a rejuvenating effect on her when they turned her afterwards? That was the case in ‘Dracula’, and maybe it is a popular trope of vampire fiction?

>What is the significance of the ocean scene?

That’s a good question! I believe it was a painting, so maybe something Anna painted, either from dream or memory? The shared dream meeting was also in ‘Carmila’ (the story at least).

Hopefully there is a audio commentary track on the DVD that could shed some light on it.

>It kind of felt like watching Carmilla on yt back in the day at points.

Speaking of… They even had a similar death-scene; Anna is staked in the heart, but lives long enough to kiss Sydney one last time after Van Helsing leaves.

Also, naming the site after Artemis, the goddess of the hunt, is quite appropriate for a group (or sect) of vampiresses looking for their prey.

I'm that other BO, although I guess not much of a BO anymore since the site admins refuse to focus on recovering old boards and insist on useless new features instead.

I'm finally back from my vacation and can watch some movies, what should I watch to get up to date with you guys?

>>1938

lmao, either Traitortires or Michael J. Anderson. Never trust a bone goblin.

>Sad! They take themselves way too seriously over there. I am pretty pretentious, but I do appreciate some good sleaze and trashy ripoffsploitation/exploitation too.

A bit of pretension is good to spice things up. Better be pretentious than a simpleton lol.

>Pretty sure the hapa was a regular over at /film/ actually.

Wouldn't surprise me kek.

>Think they changed the captcha with 8kun coming online.

They had come back with 6, then with 8 after the sinful dwarf threatened to exploit it, now it's back at 6.

>>1939

>Same but back now. Hope your vacation has been grand.

It was pretty nice, glad to see we're all finally back.

>Reee to the max.

Indeed kek. Pic rel.

>Gahoole

He's been engaging with some major /cow/ personalities lately, and there's claims that he's secretly an sculptor.

>>1942

>Wasn't /film/ created as an alternative to the entirely too plebeian /tv/? Or is that something I made up in my head?

I wouldn't know but the image I have of it is that it's "/tv/ but srs bsns"

>Nothing wrong with a bit of sex and violence.

That's the attitude.

>>1977

>I'm that other BO, although I guess not much of a BO anymore since the site admins refuse to focus on recovering old boards and insist on useless new features instead.

Now you could go by the anon formerly known as BO.

>I'm finally back from my vacation and can watch some movies, what should I watch to get up to date with you guys?

wew! How was China? Did you did to try out the bat soup?

I discussed Daughters of Darkness (1971) with WebMAnon/BO via email, and we’ve seen and discussed The Kindred (1987) in the ’80s horror thread. The Dead Pit (1989) is also worth a watch IMHO; I have a weak spot for these obscure late ’80s horror films.

I also rewatched Cannibal Holocaust (1981) thrice in a short span a while back. Was the first time I’ve seen it in HD, and then twice more with the audio commentary tracks. Ended up with a rather unpleasant dream afterwards; in the Amazon rainforest, surrounded by snakes and cannibals as I waded through the piranha-infested river.

The Last Sect (2006) was a fun sapphic vampire flick, and it is up on YT. Trying to get a 1080p rip of it now, so I can fully appreciate the film.

Btw., did you guys hear (((Blumhouse))) is gonna make a not-remake of John Carpenter’s The Thing? We are just started on 2020 and shit is already FUBAR.

>A bit of pretension is good to spice things up. Better be pretentious than a simpleton lol.

I’m a pretentious simpleton actually… But I suppose you already knew that by know.

>He's been engaging with some major /cow/ personalities lately, and there's claims that he's secretly an sculptor.

Not so secret anymore! Looks like there is some truth to that claim too. He’s quite good too.

>>1979

>There have been some hilarious posts about that.

You flatterer! I am the culprit responsible for that bit of Poe-esque fiction. I spent more time looking for the name of the journalist than I did typing that first bit.

The mention of Praxiteles & Pradier came from Un Eté à la Campagne: Correspondence between two young Parisian ladies by Gustave Droz, while Kalos & Musides are fictional sculptors in Lovecraft’s short-story The Tree. The opening is, of course, a nod to Poe’s The Raven.

Had some trouble trying to post earlier as well, and the site was down for a while the other day. Anons are none to happy with Ron’s radio silence and refusal to talk to them over at /v/. We could have a mutiny on our hands soon!

More appalling news involving remakes:

Paramount seeks to remake Alex de la Iglesia's Musarañas, starring Macarena Gómez.

https://archive.is/qk1YD

To add insult to injury, the hacks over at Dread Central compared it to Black Swan.

<A killer called "the Bat" has claimed many lives in the small town inhabited by novelist Cornelia van Gorder (Agnes Moorehead) and her maid, Lizzie (Lenita Lane). As Cornelia implores Dr. Malcolm Wells (Vincent Price) to help her ailing maid, $1 million in the town's bank goes missing. With greed and fear reaching new heights, police Lt. Andy Anderson (Gavin Gordon) goes to Cornelia's house to investigate additional murders committed by the Bat.

THE BAT Vincent Price Agnes Moorehead Lenita Lane Full Horror Movie English HD 720p : Crane Wilbur : Free Download, Borrow, and Streaming : Internet Archive: https://archive.org/details/THEBATVincentPriceAgnesMooreheadLenitaLaneFullHorrorMovieEnglishHD720p

Finally got around to watching The Bat from 1959 last night. Mostly because Vincent Price is in it, but partially because a thread archived from IMDb seemed to indicate it was /sapphic/ approved: https://moviechat.org/tt0052602/The-Bat/58c7232b5ec57f0478ec7692/Cornelia-Lizzie-Lesbian-Couple

The /sapphic/ angle is up for debate, but the characters were all enjoyable, and quite unusual for the time. The non-typical characters were a pleasant surprise, somewhat similar to the black & white 3D film The Maze (1953) in that regard. The film mixes mystery and horror with comedy in a surprisingly effective way. Even without the Bat-killer it would have been an enjoyable murder mystery with all the tropes you expect; large Gothic manor house, red herrings all around, lots of suspicious characters sneaking around the house at night… There are tons of unanswered questions and odd things that are never addressed, but the film has plenty of charm. The film is in the public domain, and the copy linked to seesm to be the most complete version of the film, and the picture and audio quality is great.

Vincent Price is a delight to watch, and Agnes Moorehead and Lenita Lane carry the film as the two protagonists. Darla Hood, a child-actress known from Our Gang/The Little Rascals is a real cutie in this.

>>2020

Thanks for the archive link. Getting it now.

Tried to take my mind of Coronachan today and took care of some neglected household chores then watched Bliss.

What a gem. Reminiscent of 80s/90s low budget flicks, particularly in the beginning. It was nice seeing cameos of Norm from Cheers and that dude I haven't seen in a while. I thought she would kill her boyfriend first tbh ALA The Hunger.

Wow Courtney, what a bitch. Goes and bites a girl then doesn't even tell her the rules she expects her to live by. She definitely had it coming.

The ending completely threw me and seemed rather rushed and unplanned.

Goretastic/10.

Kinda TV has begun uploading full seasons of Carmilla btw if you feel like binging.

S1 https://www.youtube.com/watch?v=3uPd3g5wi1A

S2 https://www.youtube.com/watch?v=rXBLrakI9wI

S3 https://www.youtube.com/watch?v=WBmxqgkgq2M

>>2023

Good to hear! Gonna look for a copy of it. Any rip you wanna recommened?

Watched the 1926 adaptation of The Bat last night, and was totally blown away by it. By far the most visually impressive silent film I have seen. The opening with the jewel heist is superb. This is lightyears ahead of most films made at the time, and the director went on to do the “talkie” remake in 1930 – one of the first films shot in widescreen. Only caught the opening so far, but again, the director is a true auteur, and it looks fantastic. I saw one review of the 1926 silent film claim it was “style over substance”, and while it is true that the story kinda devolvs into a proto Scooby-Doo silent film, it held by attention to the very end. Sadly all copies of the 1926 are awful – taken from a VHS rip of the film.

Imagine seeing this film in the theatre, or in HD at home! The details you would be able to catch…

Nothing /sapphic/ about the 1926 film though.

>>2027

Nice. And on uploaded on Valentine’s Day no less! Maybe it is time to revisit the series. Did they re-up Season 0 too?

Btw., apparently they released a novelisation of the web series… Sounds interesting.

I caught the 1989 adaptation the other week; a Showtime TV-movie, and Shelley Duvall was executive producer on it. Ione Skye (daughter of folk-singer Donovan), plays Laura Marie, and Meg Tilly plays Carmilla. Both are very good in their roles. They changed the setting from Styria to the U.S. Deep South, and there is a “Magical Negro” maid, who reminds me of the maid in the Tom and Jerry cartoons.

Carmilla (1989): https://www.invidio.us/watch?v=2xcHhpf4oNk

>>2029

>Any rip you wanna recommened?

The one I got was Bliss.2019.720p.WEBRip.x264-[YTS.LT] Think I got it from https://yts.mx/ iirc. Found it good enough.

>Watched the 1926 adaptation of The Bat last night, and was totally blown away by it.

Ooh will have to grab a copy of it.

>And on uploaded on Valentine’s Day no less!

Cuuute, I didn't even notice that.

>Did they re-up Season 0 too?

Not that I can see. Just 1-3 so far. Kek, remember how wooden Natasha is in the first series?

>Btw., apparently they released a novelisation of the web series…

How meta. The novelisation of the web series based on a novella.

>I caught the 1989 adaptation the other week

I feel like I watched this a while back (for Meg). It's strongly ringing a bell. But perhaps I just watched the trailer. Will have to give it another look. Can't really go wrong with filling up on more Tilly.

>>2031

The Bat (1926) with soundtrack : Free Download, Borrow, and Streaming : Internet Archive: https://archive.org/details/TheBat1926WithSoundtrack

The Bat (1926) A Silent Film Review – Movies Silently: http://archive.vn/4ahK2

Silent Era : Home Video Reviews: http://archive.vn/7kCU9 / http://web.archive.org/web/20190325231820/http://silentera.com/video/batHV.html

>Just 1-3 so far. Kek, remember how wooden Natasha is in the first series?

Yeah, it will be interesting to see when they really start to get comfortable in their roles over the seasons.

Btw., the audio on Episode 6 is messed up; from around the 14:30 mark onwards only Laura’s lines can be heard, then her lines go out too. Hopefully that is the only audio issues in the full season upload, but it is pretty annoying. They should be able to fix that without having to re-up the vid, right? I have a torrent of the series, but that only includes seasons 0, 1 & 2.

>I feel like I watched this a while back (for Meg). It's strongly ringing a bell. But perhaps I just watched the trailer. Will have to give it another look. Can't really go wrong with filling up on more Tilly.

Quite right! She is a great Carmilla, and Skye is a great choice for Laura Marie. Pretty decent TV-movie adaptation tbh.

And there is something interesting that connects it to Vampyros Lesbos…

Carmilla (1989) opens with a quote from Edgar Allan Poe’s poem “A Dream Within a Dream” (https://archive.org/details/poeticalworkswit00poeeuoft/page/72/mode/2up):

<All that we see or seem

<Is but a dream within a dream.

This alludes to the strange, prophetic dreams Laura & Carmila share prior to their meeting, but in Vampyros Lesbos Linda also had strange/erotic dreams before meeting Countess Carody, and at the end Carody and Morpho (her footman/servant) disappear without a trace after their apparent death; Linda’s fiancé tells her “It was a bad dream, Linda. Nothing more.” But as they are leaving Countess Carody’s private island, Linda has an internal monologue: “No, it wasn’t a dream… unbelievable as it may seem. Even if there is no explanation. The pain will fade in time… but the memory will remain… for as long as I live.”

Rewatched the ending the other day, and I’m not sure if I caught the possible symbolism of the scorpion on my first viewing – there is a scorpion crawling around by the outdoor swimming pool on the Countess’ island, and at the end, after we’ve seen the Countess apparent death, there is a shot of the drowned scorpion at the bottom of the pool. A reference to our favourite animal fable – the tale of the Scorpion and the Frog?

>>2037

>The Bat (1926) with soundtrack :

Why thank you.

>Btw., the audio on Episode 6 is messed up

Thanks for the heads up.

>They should be able to fix that without having to re-up the vid, right?

No idea.

>I have a torrent of the series, but that only includes seasons 0, 1 & 2.

I used the same torrent as you iirc. For S3, I either downloaded each ep from Yt or got access to the whole season to dl when I payed for the movie. Looking at my files I'd say the later is the case because I have out takes and commentary files from S3.

>“No, it wasn’t a dream… unbelievable as it may seem. Even if there is no explanation. The pain will fade in time… but the memory will remain… for as long as I live.”

How similar this is also to the ending of Let's Scare Jessica to Death. Have always loved that Poe line, I think ever since I first watched Picnic at Hanging Rock.

>A reference to our favourite animal fable – the tale of the Scorpion and the Frog?

Certainly symbolic of the end of the Countess. I have trouble connecting it to the Scorpio and the Frog though because Linda escapes relatively unscathed and she didn't really understand the danger of the Countess (scorpion).

<Two young girls experience awakening sexuality in the heated atmosphere of a Swiss girls’ boarding school…

Thérèse and Isabelle is a French-American romantic erotic drama film from 1968 directed by Radley Metzger, based on the novel Thérèse et Isabelle by Violette Leduc. The main stars are Swedish actress Essy Persson as Thérèse & Hungarian actress Anna Gaël as Isabelle. Metzger is described as a “pioneering filmmaker”, known for “artistic, adult-oriented films”. Reviewers have noted that his films are known for their “lavish design, witty screenplays, and a penchant for the unusual camera angle” (http://archive.vn/qt1gw / http://web.archive.org/web/20140813194851/http://filmmakermagazine.com/87041-this-is-softcore-the-history-of-radley-metzger/) & that his films are “highly artistic — and often cerebral … and often featured gorgeous cinematography” (https://web.archive.org/web/20150524154050/http://whatculture.com/film/adults-only-5-films-by-radley-metzger.php).

<[Metzger] was always acutely aware of both the commercial and the aesthetic. Take for example, his signature cinematic style – a Euro-centric combination of stylish decadence, wealth and the aristocratic. From a commercial point of view, this was often driven by the fact that it was less expensive to shoot in Europe so low budgets could be extended further by basing a production in Italy, France or Germany. From an aesthetic standpoint, Radley felt it was easier to involve and seduce an audience if the filmmaker presented them with rich people living in a world far removed from their own, so the audience didn’t have to wonder how the characters actually made a living.

'The Private Afternoons of Pamela Mann' (1974): The Birth of 'Henry Paris' - The Rialto Report: http://archive.vn/B0Lhn / https://www.therialtoreport.com/2017/04/03/private-afternoons-of-pamela-mann/

Reviews for the film appear to be very positive, though Roger Ebert gave it one and a half stars (http://web.archive.org/web/20140619165623/https://www.rogerebert.com/reviews/therese-and-isabelle-1968), calling it “the worst movie of the year.” The whole film is up on the Internet Archive (in decent quality it seems), and I have yet to see any quality/HD torrents of the film.

Review: Therese and Isabelle - Slant Magazine: http://archive.vn/pIjQ5 / https://web.archive.org/web/20190306043558/https://www.slantmagazine.com/film/therese-and-isabelle/

Therese and Isabelle (1968) Trailer: https://invidio.us/watch?v=B09iv9STXUY

Therese And Isabelle : Radley Metzger : Free Download, Borrow, and Streaming : Internet Archive: https://archive.org/details/ThereseAndIsabelle

>>2065

Wew lad, you are providing me with much viewing material for when shtf and I am (hopefully) hunkered down.

[wtf I posted this last night, I am certain of it. But now it's just in the txt box again.[/spoiler]

Gladiator Eroticvs: The Lesbian Warriors

https://wipfilms.net/sword-and-sorcery-adventure/gladiator-eroticvs-the-lesbian-warriors/

Fact-based account of the secret sisterhood of gladiators that the Patriarchy has kept out of the history books for centuries. In the year 284 AD, the Roman general Eroticvs returns from victory on the battlefield to find betrayal waiting at home. Fading Emperor Gluteus Maximus wishes for the popular Eroticvs to lead Rome into a new democratic era, but his spineless son Dickus Minimus will not give up the throne so easily. Arrested, savagely seduced, then left for the vultures, Eroticvs vows revenge. Taken into slavery, she must first survive the sensual rigors of becoming the most feared and least clothed female gladiator.

I've watched this 18 times, now, and I still find this hidden historical gem breathtaking and exciting.

After seeing Radley Metzger’s Thérèse and Isabelle last night I do not agree that this should be labelled a “sexploitation film”. The sex scenes do not come off as exploitation – they are very well handled, even artistic and beautiful. One scene in particular is mostly seen in the reflection of a vase, apparently a favourite technique of Metzger’s.

Rather, the label “erotic romantic drama” is perfectly fitting, as the real focus is on the romance between Thérèse & Isabelle. During their love-scenes, Thérèse’s (Essy Persson) voice-over recollects what went through her head and what she felt; while poetically handled, there is a certain distracting and unintentionally bizarre vibe from this narration – I think some of this narration could have been cut/trimmed down, and let the main focus be on the moment as it happens – their breathy moans, the sound of their kisses, rather than the character telling the audience. I was impressed by Persson’s performance in “Cry of the Banshee” (1970), and she once again impresses in this film. Her character, Thérèse, is the protagonist, and the one we get to know though the film, while Isabelle (Anna Gaël) is much more enigmatic and difficult to grasp.

The film is beautifully shot and the romance between the two girls is very well handled for a film branded a “sexploitation film”, and it deserves a HD release so that we can view this in the correct aspect ratio and with cleaned-up audio.

<What distinguishes [Metzger’s] films today from their many forgotten counterparts is not only the provocative, upbeat attitude toward sex – by turns playful, challenging, artful – but Metzger’s sophisticated visual and formal sensibility that incorporates all kinds of visual trickery normally not seen outside cinema’s textbook classics. One of his favorite devices is shooting not a scene but its reflection in a mirror, a glass bowl, a marble wall, a shiny surface.

<Author Violette Leduc only permitted Metzger to adapt her autobiographical novel Therese and Isabelle on condition that he not “make a dirty film” (she must have seen the title of his first film, The Dirty Girls), but she needn’t have worried, as this is both visually sumptuous and respectful of the girls’ complicated, sometimes tortured affair.

Images - The Films of Radley Metzger: http://archive.vn/tIe9S / http://web.archive.org/web/20181127104536/http://www.imagesjournal.com/issue08/reviews/radleymetzger/default-1.htm

Dreams of Desire: A Talk with Radley Metzger: http://archive.vn/T7sKm / http://web.archive.org/web/20200216045508/http://www.mondo-digital.com/radtalk.html

The Films of Radley Metzger: http://archive.vn/5ZZvb / http://web.archive.org/web/20190901035643/https://www.mondo-digital.com/metzger.html

Therese and Isabelle: Sexploitation but Artistic - Applaudience - Medium: http://archive.vn/ixG6B / http://web.archive.org/web/20191210022915/https://medium.com/applaudience/therese-and-isabelle-sexploitation-but-artistic-837b29d02c5c

Been looking into some more of Lucio Fulci’s films after I saw Quella villa accanto al cimitero/The House by the Cemetery (1981), and this one seems promising: Una Lucertola con la pelle di donna/Lizard in a Woman’s Skin from 1971.

The quote on the Italian poster attributed to Poe appears to be an invention of Sergio Martino, and first appears in another giallo, Lo strano vizio della Signora Wardh/The Strange Vice of Mrs. Wardh aka Blade of the Ripper, from 1971: https://ilmiovizioeunastanzachiusa.wordpress.com/2015/02/08/una-lucertola-con-la-pelle-di-donna-1971/

>>2395

Nowadays you’ve got woke people on social media claiming you can’t write people of another ethnicity or sexual orientation. You can’t win with these guys.

And it is baffling why the director, Hardwicke, didn’t get any shit for her comments – it sounds to me like she sees people of other ethnicities as something to inject for purely æsthetic reasons or to get social brownie points.

Not to mention, from a story perspective, the decision to change many of the main characters ethnicities into non-White wouldn’t make any damn sense at all – the idea is that these vampires, the Cullens, are trying to blend in with average people and not attract attention; if you had a multi-ethnic family living in a small, White town in the PNW, that would certainly ruin that.

It’s all so tiresome.

Did a rewatch of the first season of Buffy the Vampire Slayer because of the beerbug quarantine/social distancing, and was surprised to see Clea DuVall from But I’m a Cheerleader up in episode 11 Out of Mind, Out of Sight as Marcie/the Invisible Girl.

>>2398

>it sounds to me like she sees people of other ethnicities as something to inject for purely æsthetic reasons or to get social brownie points.

If called out, they merely fall back on "Muh representation". You're right, you can't win with them, because they have renounced the use of reason and logic.

>>2401

Nice. Used to like Clea. She's great in The Faculty. Which I just realised also has Piper Laurie in it. I watched Appointment with Death (1988) the other day and was pleasantly surprised to see Laurie as one of the leads. She plays evil so well.

>>2398

>You can’t win with these guys.

Kek, just spotted this on twitter.

Rewatching The Taking of Deborah Logan from 2014 right now, and I forgot that the daughter, Sarah, is a lesbian. There is a fine scene early on, where Sarah talks about how her mom, Deborah, caught her kissing a girl and then shipped her off to a boarding school.

The film is a found footage horror film, a mockumentary presented as a student project following a person suffering from Alzheimer’s disease. The idea behind it is really interesting and could become a very effective psychological/body horror film, but it needs a better script, and far less stereotypical (found footage) horror clichés; a slow burn introducing us to Deborah & her daughter, and how the progressing disease is affecting them, then introduce the added horror of the body horror and the supernatural horror slowly but surely.

Sadly the film adds the clichéd static at certain critical moments, and all the documentary filmmakers are morons. There are some genuinely chilling moments, and these would have been really effective if the rest of the film was on the same level.

The two actresses playing Deborah & Sarah are very fine and there are scenes with them that are really sad and gut-wrenching.

>>2448

>I remember watching this because of the monster eating her scene.

lel

That was why I decided to check it out too.

I got the feeling there was something going on between Sarah and Sheriff Tweed too – maybe it was just my yuri goggles sapphic spectacles being left on after the porch scene?

The scene that made me check it out initially, didn’t work this time around, instead I found the other scenes at the house to be much more effective – the scene where Deborah is messing around with the switchboard in the pitch black room and her voice is distorted and daemonic was pretty eerie.

The film would have been better without the limitation (and stigma) of being a found footage film – include the documentary crew, but mix in regular scenes as well. And the whole 1970s murder/Desjardins plot felt like unnecessary padding – I think the film works without everything being spoonfed to us; creepy, fucked up shit can happen without being explained.

La Terza Madre (2007, aka The Mother of Tears) isn't as bad as people make it out to be. People say Asia Argento sucked in it but I don't think she did a bad job. The worst part was arguably the CGI and the cheesy apparitions.

It had some nice sapphic moments but they don't really make a sizable part of the run time nor are they significant to the plot, unlike say on Tenebrae. Still, some nice imagery and as such I added some to this post.

The styling is a lot more muted than in Suspiria or Inferno and there's a lot more gore, making it closer to a Fulci movie than what we usually expect from Argento. There's nothing that compares to the death by dog in Suspiria in terms of horror and gore, though. But overall it was more effective. The guillotine throwback to Inferno was nice too.

It's a film with very natural manifestations of the supernatural, which might have upset some. But at least it didn't feature the laughable deaths from moving on a pile of steel wire like in Suspiria and it closed the ambiguity from Inferno. One thing it lacked, though, was the intense mystery surrounding the others. But part of that is a consequence of it being the last installment of a trilogy.

I must say Argento's way to dispense with cell phones was very clever. Everyone knows their presence is a net detriment in a genre where the inability to communicate easily has always been key to keeping things tense. Argento didn't conspicuously ignore their existence nor did he come up with convoluted reasons to kill their signal and make the character desperately rely on them. No, he made her willingly get rid of the phone for quite Stallmanian concerns.

Burning the tunic being enough to kill the Mother of Tears and Enzo surviving was bullshit, though. Had I done the movie, I would have the burning of the tunic debilitate the Mother of Tears and then drive the spear through her torso. Or not even pay attention to the tunic at all and do what I expected to happen in that shot: just impale the witch with the spear. But after Inferno I guess it was to be expected. To take down one of the Three Mothers, take down her house. It's an inversion of the mechanism seen in Suspiria and I think it's also a rather unfortunate one.

Overall, it was a decent horror movie. Not stellar in any aspects but not terrible as some seem to think. It's worst sin is being an Argento film that doesn't look like one and that lacks much of the overtly supernatural aspects of the previous two, making purists frustrated. To me. its worst sin was its unoriginality. Most of what I saw in it, I had seen somewhere before. For instance, the final scenes are very reminiscent of Dagon, but without its impact and without a resolution that carries even nearly as much weight.

I think it's rather amusing that both Sara and Elise are gifted and in Sara's case we might even say chosen, that it's inheritable and that they're jewesses in real life. It was also one of the worst aspects of the film, capeshit tier.

Despite all this, I can say I enjoyed the film from start to end. But it's generic in comparison to its more auteurish predecessors.

>>2450

Well, well, well. It's her.

Last night I watched Sergio Martino's Tutti i colori del buio (1972, All the Colors of the Dark). It stars Edwige Fenech as Jane and it was scored by Bruno Nicolai, the man who created the scores of Emilio Miraglia's two gialli that we have reviewed in the past: La notte che Evelyn uscì dalla tomba (1971) and La dama rossa uccide sette volte (1972). As usual, he delivers a fantastic score. That's not where the coincidences with those two films end, we get the ever wonderful Marina Malfatti who was in those two, and she wears a red cloak at one point in the film. I will try to keep the review spoiler-free. Like Miraglia's first giallo, the story takes place in England, but it doesn't feel British at all (even if this one nails the cars and architecture as it was shot on location, at least on the external shots). Maybe it's because I watched the Italian version, but I wouldn't have it any other way.

Martino treats us to a mixture of giallo and gothic horror elements, as well as cults. It is first and foremost a giallo, though. The film is heavily influenced by Polanski's Rosemary's Baby and it's been unfairly accused of being a ripoff. Martino's work is very self-aware of its similarities and it constantly uses them to mess with the viewer's mind.

Dreams play a key role in this film. Our beautiful porcelain-skinned protagonist Jane suffers from a recurring nightmare featuring an unnaturally blue-eyed man who stabs a woman in it. She's been having these nightmares ever since she and her fiancé Richard -a pharma sales rep- were in a car accident where she lost their baby. Ever since the accident, she also has visions of the man whenever they attempt to have sex, making her panic and frustrating them both. Because of his job, he's on the road most of the time meaning she is left alone to deal with her inner demons. I believe Fulci took inspiration from it to make his film Murder Rock in 1984, some of the oneiric elements are similar. Fulci's approach makes use of more aesthetic conventions of giallo such as the black-gloved killer, though.

Against Richard's will, Jane's sister gets her an appointment with a psychiatrist that she works with. Richard is against it because he deems psychiatrists to be hacks who worship Freud and his theories with little basis in reality, because Freud extrapolated from the mentally ill to theorize about the sane. He's not that far-off as far as Freud is concerned, I must say, even if he overgeneralizes about psychiatrists. Jane starts seeing the man from her dreams outside them, and starts doubting her own sanity. Her grasp on reality loosens, and so does the viewer's as it's never absolutely clear what's real and what is in her mind.

After this, she meets a new neighbor, Mary (Marina Malfatti) who has recently moved into the building. They get acquainted and after Jane opens up and tells Mary about her problems, she tells her she's gone through worse and gives her the unorthodox solution that worked for her: attending a black mass. Desperate for a solution, Jane agrees to go. Mary makes the arrangements and they go. In a castle, a ritual takes place, presided by a high priest of their satanic cult played Julián Ugarte (I find his resemblance to Robert Downey Jr. quite amusing) His performance and screen presence are some of the highlights of the film. Here's where we get some brief sapphic moments like Mary kissing Jane, but so is everyone else too. Back home, Jane and Richard are able to enjoy sex as before the accident. Jane's problems seem gone. And here's where I stop narrating, because going further would require spoiling everything.

Martino's use of color is lovely, he's a tasteful middle ground between Argento's Suspiria-era lavish aesthetics and Fulci's muted ones. Sometimes you see red-lit rooms, but it's done in a very natural way that doesn't feel forced in the slightest. Even more worthy of praise is his shaping of light. There's some scenes in white rooms where you can sense an almost aethereal luminosity. The least accomplished part would be certain segments inside the dreams that were filmed in black rooms where you can see the texture of the painted floor, betraying the film's budget. It's mostly right in the beginning so it's not much of an issue. The blood is bright red like it should be, and there's plenty of it, again like it should be. And because that's the way Italians roll, J&B makes its indispensable appearance (more times than I consciously spotted it, now that I looked at the mandatory post in jandbinthemovies.com). The camerawork deserves a mention too, with many scenes where the sensation of being trapped is palpable and others where you inevitably wonder if the point of view is that of the killer. It's well done but not specially ambitious, fairly standard camerawork. Overall, a charming and enjoyable giallo with moments of brilliance, if not on the same level as the finest in the genre. You won't feel like your time was wasted if you watch it, but you won't feel you have seen a masterpiece either.

>>2491

The biography on Mario Bava by Tim Lucas is titled All the Colors of the Night. Might be a connection to Martino’s film there, no?

I’ll have to add this to my already lengthy backlog. The combination of Gothic horror and giallo is one I enjoy a lot.

Just finished Nudo e selvaggio/Massacre in Dinosaur Valley from 1985, with Michael Sopkiw, directed by Michele Massimo Tarantini. Quite an interesting mix of characters in this, and in a refreshing change from U.S. films the characters are portrayed in various shades of grey. The protagonist, Kevin Hall, played by Michael Sopkiw, is a likeable guy – not a typical goody-two-shoes hero. Sopkiw has charisma and screen presence, and he makes for a great 1980s B-movie action hero.

There is the illusion or implication of depth with some of the characters I quite like – the film doesn’t waste much time and moves as a brisk pace, so the technique of making the characters seem to have extra depth is quite clever.

Quite a lot of nudity in the film, and even a sapphic scene, as indicated by the trailer.

One of the characters, Capt. John Heinz, uses the phrase “green Hell” to describe the jungle – this must be a reference to Cannibal Holocaust, where they call the jungle the “green inferno”. I watched the English dub of the film – no doubt the Italian dub uses the “green inferno” phrase from Cannibal Holocaust.

The Green Inferno is also the name of a 2013 cannibal film by Eli Roth. I think there could be some interesting non-PC themes there; rich, clueless Westerners with “White saviour” complex, perhaps even “White guilt”, heading out into the jungle to help the poor natives

>>2496

>The biography on Mario Bava by Tim Lucas is titled All the Colors of the Night. Might be a connection to Martino’s film there, no?

You can spare the conditionals, Tutti i colore del buio is a household name in giallo, I'm certain it's a reference to it.

>I’ll have to add this to my already lengthy backlog. The combination of Gothic horror and giallo is one I enjoy a lot.

I'm sure you'll like it. It's not without its faults but it's enjoyable nevertheless. By the way, here's Marina Malfatti in her red cloak, with Edwige Fenech walking behind her.

>Tarantini

It shouldn't, but it made me kek.

>The protagonist, Kevin Hall, played by Michael Sopkiw, is a likeable guy – not a typical goody-two-shoes hero. Sopkiw has charisma and screen presence, and he makes for a great 1980s B-movie action hero.

I should watch Nudo e selvaggio, it's always good to have Sopkiw around.

By the way, how about we review Mario Bava's Cani Arrabbiati (1974, Rabid Dogs) starring George Eastman among others and with Lamberto Bava as the assistant director? Should be done in the /bestemma/ thread, as it's not sapphic or 80s horror (or horror at all). It's an odd one for a Bava film, with a muted look. It's similar to the contemporary poliziotteschi but lacks some of their elements and is more centered around the criminals than the policemen. NAHOM released the Kino Lorber version as supervised by Lamberto Bava (there's several versions around because the production company went bankrupt back in the day, and the film was only brought to light in 1995 after Lea Kruger's efforts (she was one of the protagonists and wanted it to be shown). Lamberto disowned that version and did his own based on an approximation of what the film editor Carlo Reali's rough cut was like.

>The Green Inferno is also the name of a 2013 cannibal film by Eli Roth. I think there could be some interesting non-PC themes there; rich, clueless Westerners with “White saviour” complex, perhaps even “White guilt”, heading out into the jungle to help the poor natives.

I wouldn't be so hopeful, I'm sure he must have found a way to push his agenda.

>>2576

Working on getting a copy. Trailer aesthetic and some of the subject matter reminds me of Daughters of Darkness.

Also just randomly came across another Carmilla adaptation with Christopher Lee on Amazon Prime. Terror in the Crypt. It's funny how pretty much every adaptation fucks with the story. Same with Dracula adaptations.

>>2593

>>2595

Should have the The Vampire Lovers in HD before long (96,81%). That was my first ever Hammer horror film, and without a doubt the best lesbian vampire film out there. Trying to get a HD copy of Lust for a Vampire as well, but that one seems harder to find.

The second best lesbian vampire film is Jean Rollin’s La morte vivante/The Living Dead Girl (1982); haven’t decided on the third yet.

>I think it certainly fits as /sapphic/. Implied but not shown except for some hand kissing.

W-what about hand holding ? Asking for a friend.

>>2596

>and without a doubt the best lesbian vampire film out there

For sure the best adaptation of Carmilla. Got a Bluray a few months ago.

>La morte vivante/The Living Dead Girl (1982)

Still haven't got a copy of this one yet. And can't find any seeders for ''Blood Spattered Bride" :(

>W-what about hand holding? Asking for a friend.

Oh so much, your friend will be pleased.

>>2597

Any cool bonus features on the Blu-ray? Fingers crossed for a feature audio commentary.

Been struggling to come up with a top ten list of lesbian vampire films for ages; Jean Rollin’s Fascination (1979) Vampyres (1974), Lemora: A Child’s Tale of the Supernatural (1973), Lust for a Vampire (1971), Vampyros Lesbos (1971), &c. are all on it, but not sure how to rank them.

I like Twins of Evil (1971), but I think I would like it more if it hadn’t been part of the Karnstein Trilogy. A shame Hammer never made The Vampire Virgins…

<19th century Austria. Four village elders hire vampire hunters Johann and Kurt to wipe out a group of vampires at the nearby Karnstein Castle. When they return successfully with eleven vamp heads between them and a steep demand of 100 marks per head in payment, the shocked elders try to bargain. Johann and Kurt have none of it and make off with the elders’ four daughters. In their haste, however, the hunters have missed the small fact that supreme vampire Count Karnstein himself still exists. Karnstein ‘turns’ each of the four daughters and commands them to exact his revenge on Johann and Kurt.

10 Unmade Hammer Films - Hammer Films: http://archive.vn/jWd8g

>Still haven't got a copy of this one yet. And can't find any seeders for ''Blood Spattered Bride" :(

The director calls it a zombie film in a 1982 interview with Starburst magazine (https://archive.org/details/Starburst_48v04n12_1982-08/page/n25/mode/2up – minor spoilers for the first five minutes of the film and the general set-up), but it is at the very least a vampire/“zombie” hybrid – vampires are called the undead, and other than the way she comes back from the grave, it is absolutely a vampire film. Very bittersweet and beautiful film.

Will look for a copy of The Bloodspattered Bride (with subs) and report back if I find one.

>Oh so much, your friend will be pleased.

wew! Sounds lewd. I like it.

>>2619

Rewatched the film the other day; noticed a lot of details I hadn’t before. It really isn’t sleazy or too exploitative – Pitt was right in her introduction to the soundtrack; it is more innocent – Madeline’s character, Emma, in particular is very sweet and naïve. The Regency era æsthetic is beautiful, and it fits this story perfectly; like a blend of Jane Austen & J. Sheridan Le Fanu. Emma being the other lead character made me think of the recent Austen EMMA. adaptation by Autumn de Wilde.

The supporting cast is terrific too; Peter Cushing, Madeline Smith, George Cole, Kate O’Hara, Pippa Steele… top notch.

If they hadn’t fucked up and dubbed Pitt’s voice in Countess Dracula she might have done more Hammer horror films…

>Working on The Living Dead Girl. Found a 3 gig copy with 1 seeder. Not having much luck sourcing material these days.

The Living Dead Girl (known as Lady Dracula in Germany) got a new 2K release recently, packed with bonus features, including three audio commentaries. One is by director Jean Rollin, the second by Françoise Blanchard (who plays Catherine Valmont – the titular Living Dead Girl), and the last is by Prof. Dr. Marcus Stiglegger & Kai Naumann: http://dvdcompare.net/comparisons/film.php?fid=8540

Living Dead Girl (Wicked Vision Release) (Blu-Ray All Region) – DiabolikDVD: https://www.diabolikdvd.com/product/living-dead-girl-wicked-vision-release-blu-ray-all-region/

A damn shame Arrow hasn’t done a Blu-ray release of Rollin’s films – Fascination (1979) & The Living Dead Girl (1982) in particular. My DVD copy is OK, but it would be nice to see it in HD.

Found the score for The Living Dead Girl on RuTracker – gonna have a listen to that. Massive spoilers in the track titles though, so be warned if you look it up.

>>2593

>>2595

>>2597

Very impressed by this adaptation – very artful, atmospheric and tasteful, and the many changes added a welcomed element of mystery to the story. That and the witch angle made it feel fresh and unique

Some rather striking similarities to Mario Bava’s 1960 film La maschera del demonio /Black Sunday aka The Mask of Satan aka Revenge of the Vampire (UK title). Black Sunday is, according to Wikipedia, based very loosely on Nikolai Gogol’s short story Viya, about a witch who is executed and returns 200 years later to get her revenge.

Feel like this film is also strongly influenced by Roger Corman’s Poe adaptations – Pit and the Pendulum (1961) in particular; like in The Night Evelyn Came Out of the Grave (1971) the scene where they break into the tomb in the crypt the scenes are very similar to the one in Corman’s film.

>Laura is mega Italian phenotype

Absolutely – the mouth and the nose in particular. Poe always wrote about ivory-skinned, dark-haired beauties with Hebrew/Roman noses (especially in Ligeia). In Ligeia the narrator remarries to a Lady Rowena – the name of the maid in this film is also Rowena. Laura’s slow sickness is also reminiscent of Poe’s Ligeia and other stories, such as The Oval Portrait.

Some very beautiful and haunting imagery and scenes in this film; the shot of Laura in bed, her head in profile is very beautiful, and the scene where Rowena sits up in her coffin and points and accusative finger at Laura was genuinely eerie. Laura’s nightmare, where is offered to drink blood from a glass cup is very similar to Jess Franco’s Vampyros Lesbos (1971).

>I think it certainly fits as /sapphic/. Implied but not shown except for some hand kissing.

You didn’t joke about the hand holding… wew! Positively scandalous at times! And the smouldering looks they exchange while holding hands? Far more effective than anything more “blatant”. Very intimate and sensual despite the rather innocent look.

>Just found a low quality copy on yt. I guess I can make do with that if I can't find another copy.

Yeah, we need to find a HD version of this, but it seems rather obscure.

>>2645

I haven’t seen it all, but I would be up for a watch. Remember seeing the trailer/ads for it back in the day.

If I recall correctly Spielberg told/forced Bay to fire her from one of the Turtles films because she made some comment about Jews running the show? Good to hear she is getting vindicated now.

Came across Carol from 2015 a few weeks ago. It stars Cate Blanchett & Rooney Mara. Sadly the ending was spoiled to me, but it is not about the destination but the journey, right?

<An aspiring photographer develops an intimate relationship with an older woman in 1950s New York.

Horrors of Spider Island is a West German horror film from 1960, originally released as Ein Toter hing im Netz. In 1962 a cut and dubbed version was released in the US under the title It’s Hot in Paradise. It was then rereleased in 1965 as Horrors of Spider Island. All this according to Wikipedia: https://en.wikipedia.org/wiki/Horrors_of_Spider_Island

Not sure if there is anything /sapphic/ about this film, but this French poster alludes to that.

Might be some fun /sapphic/ public domain snusk from the ’60s?

Horrors of Spider Island (1960) Theatrical Trailer: https://invidio.us/watch?v=c1wBOF1aeOI

Horrors of Spider Island: https://archive.org/details/Horrors_of_Spider_Island

Poster for Horrors of Spider Island (Ein Toter hing im Netz / Body in the Web, aka It's Hot in Paradise) (1960, Germany / Yugoslavia) - Wrong Side of the Art: http://wrongsideoftheart.com/2009/08/horrors-of-spider-island-ein-toter-hing-im-netz-body-in-the-web-aka-its-hot-in-paradise-1960-germany-yugoslavia/

>>2661

>They care about money more than their child's welfare. Tragic.

No wonder all these child stars/celebs are so messed up. Then you have the paparazzi, fans and social media on top of that.

Watch – Former Disney Star Bella Thorne: I was Molested from '6 to 14,' 'Everyone Around Me Saw and Did Nothing': http://archive.vn/BtdjH

Found yet another Carmilla adaptation: Styria aka The Curse of Styria aka Angel of Darkness from 2014. This one looks really interesting. On one poster they used the tagline “Love requires sacrifice”, which is too close to the webseries’ tagline, “Love will have its sacrifices”, to be a coincidence.

<Depicts the intense and fractured relationship between a lonely teenager and a beautiful stranger.

Styria - Offical Website: https://web.archive.org/web/20101125190419/http://www.styriamovie.com/

Styria Trailer on Vimeo: https://vimeo.com/49139886

Styria Trailer: https://www.yewtu.be/watch?v=KVeRpZH4B8Y

Styria Official Trailer 1 (2013) - Horror Movie HD: https://www.yewtu.be/watch?v=piFJbSHzJUY

Then there is Crucible of the Vampire from 2016 2019. According to the list of plot keywords on IMDb there is a lesbian sex scene, so we’ve got another lesbian vampire film to add to the already extensive list.

<Young museum curator, Isabelle, is sent to inspect a part of what seems to be a strange crucible buried near an eerie old manor.

CRUCIBLE OF THE VAMPIRE Official Trailer (2019) Horror: https://www.yewtu.be/watch?v=Rbz_rZ_0dFU

Check this out, BO.

Crucible of the Vampire was a legit entertaining film, a blend of Gothic horror and folk horror, with a vampiric element thrown into the mix, though never really explored. It feels like there is a great deal of inspiration from M. R. James ghost stories, in particular Lost Hearts, The Stalls of Barchester Cathedral & A Warning to the Curious, and the 1960s/’70s TV adaptations.

SPOILERS AHEAD

There are some really great scenes and moments between the characters; the black & white opening (A Field in England anyone?), Isabelle’s arrival at the estate, the dinner scene, the ballet scene, the pub scene with Isabelle & Veronica… Then there are scenes with suboptimal camerawork/cinematography that feel out of place – some of the CGI rain/storm scenes are not working, and the day-for-night scene with Isabelle walking back from the pub is awful. Shoot it at night or sunset! The POV shots and sped up sequences are also pretty distracting and out of place for a Gothic horror story, where the emphasis should be on the atmosphere.

The editing ranges from OK to WTF. There is one scene in particular that just cuts away from a very critical moment! What happens?! It just cuts to black and a new scene. Infuriating.

There is a wee bit of nudity, done with a body double, and it lasts just a few seconds, so it feels very cheap and tacked-on when the rest of the film did well without it. Same with the vampiric element. I think the film could have worked without the vampires and the flash of nudity, and focused more on the necromancy and the family/cult’s(?) attempt to achieve immortality or bring back someone from the dead. Adding vampires to the story feels like a decision made by a studio executive to cash in on the popularity of vampires in film, or because they didn’t think the cult/necromancy was enough to draw an audience.

It might have been better if Karl had been introduced as a more gentle and friendly character, and we only really see the mask slip for the first time when he saves Isabelle in the woods and hits Tom with the riding whip. He comes off as too smarmy/sinister right from the beginning. Evelyn is sadly neglected after the dinner scene. Evelyn & Scarlet’s interaction at the end of the dinner scene was great – nothing scandalous, but certainly enough for Isabelle (and the audience) to raise an eyebrow. That’s how the family should be portrayed IMHO: normal, if a bit eccentric, on the surface, with moments and comments that are slightly weird, but not overtly sinister or outrageous, till the mask comes off in the third act.

Isabelle’s discovery of the old journal in the library should had been done in a different way IMHO. Why would Karl suggest she picks up the particular book which causes her to find the journal? Isabelle exploring the library and finding the journal by accident, or seeing the ghost hint at where to find it seems more fitting. That would have been more natural than the very hamfisted way it happens in the film.

They could also have hinted at Karl/Evelyn/Scarlet’s interest in the occult/necromancy before the big reveal in the basement in a similar fashion. Have Isabelle notice the abundance of old books on the occult in the library. Easily explain away as an ancestor’s, or their own, interest in the occult/pagan rituals.

Seeing this right after Argento’s Inferno, it might have been nice to include a lunar/solar eclipse and/or a specific date with some occult/pagan connection. The family mentioning a forthcoming eclipse/date – an innocent comment that could be taken as another hint at some occult interest.

As for the crucible/cauldron itself, it worked up until the museum decides to send their half to be compared and tested against the newly discovered half. That is asking too much of the audience to buy into.