40 years later, ‘The Slumber Party Massacre’ is a still a surprisingly progressive, feminist entry in the slasher genre.
Read More
40 years later, ‘The Slumber Party Massacre’ is a still a surprisingly progressive, feminist entry in the slasher genre.
Read More“What remains brutally unwavering is the violence inflicted on female characters and its link to male fantasy and desire.”
Read MoreAs the show is centred on a young girl’s journey of self-discovery and overcoming her traumatic childhood, it is assumed that it would get the feminist stamp of approval.
Read MoreCertain movie posters can stay ingrained on your mind whether or not you’ve seen the film in question. A shark lurking beneath the ocean’s surface of an unaware swimmer has been spoofed until its original poster has become a cliché. And so before movie posters were just a compilation of Photoshop faces to attract you…
Read MoreWhen love isn’t enough. Looking at women in film who say F**k Men! and choose independence over the safe arms of their leading men.
Read More“In a geography dominated by men, male desire and gazes, the search the heroines undergo for the female space is the desire for the ability to exist within the male geography as a female, and to do so comfortably.”
Read MoreBarbara Loden’s 1970 film Wanda is a bleak picture of womanhood that is oddly fitting for the pandemic age.
Read MoreIn the final episode of Succession’s first season, Siobhan (Sarah Snook) turns to her ex-boyfriend, narrows her eyes and hisses “I’m Shiv fuckin’ Roy.” It is a triumphant victory cry, a menacing threat and maybe even an insult. It elicited gasps and celebratory ‘ooooh’s, like Shiv was a comedian who had quieted a heckler with a particularly cutting joke. This line establishes her as someone equal parts terrifying and captivating. She is both a capable businesswoman and a vengeful heiress. The show wants you to be invested in both figures.
Read MoreJulia Ducournau’s French cannibalistic coming of age film Raw depicts feminine pleasure and power through body horror. The film played at festivals and in France, with a limited US release. Viewers had visceral reactions to the screenings, with some even walking out or passing out due to the graphic cannibalism. Even so, Ducournau’s film can be incredibly relatable and empowering for young women.
Read More“Killing Eve”‘s Villanelle (Jodie Comer) ushers in a new era of bad girls that don’t apologize, even for the most heinous of deeds.
Read More