‘Sisters’ (1973) is a Reminder of Today’s Not-So-New Discussion

By: Jacinda Perez
Essay, Featured, Women in Horror, , , , Leave a Comment on ‘Sisters’ (1973) is a Reminder of Today’s Not-So-New Discussion

Liberation. Movement. Abolition. Accountability. These are just a few words circulating the atmosphere today. These words bring out a feeling, a feeling that breeds reflection and conversation in so many, including myself. They’ve been circulating the inner workings of my mind. Constantly. They were prevalent in my mind when I sat down to watch the 1973 film Sisters on HBOMAX, and I found those words plastered over every scene, warping every line spoken, and leaving me with that feeling for some reflective conversation.

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Happy Horror Mother’s Day

By: Jacinda Perez
Essay, Featured, Film, Mental Health, Women in Horror, , , Leave a Comment on Happy Horror Mother’s Day

Horror films have always taken tangible fears and placed them in despicable situations. A true feat of horror films is when they take a deep dive into a subconscious fear and bring it to light, making audiences more uncomfortable than any spider or vampire ever could. One of their most successful and re-used avenues is the fear of a toxic mother. Oh sure, there are scary movies about evil stepfathers and nasty nurses, but the fear of a “bad mom” has brought some of the best, most iconic horror films into fruition.

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Black Women in Horror: Breaking Down Stereotypes for an Empowering, Diverse Future

By: Jacinda Perez
Essay, Film, Opinion, Women in Horror, , , , , , , 2 Comments on Black Women in Horror: Breaking Down Stereotypes for an Empowering, Diverse Future

With the increasing space women occupy in horror, how much of that is going to black women and their talent?

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Eat the Rich! – What 2019’s Films Had to Say About Wealth and Privilege

By: Jacinda Perez
Essay, Film, , , , 1 Comment on Eat the Rich! – What 2019’s Films Had to Say About Wealth and Privilege

2019’s films have offered anecdotes to the mystery surrounding wealth, and have also offered some form of revenge that audiences can live vicariously through – like watching the rich family literally explode into nothing but a confetti display of flesh.

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