3 items from 2017
Editor’s note: The following is an exclusive excerpt from “’Castles of Subversion’ Continued: From the Roman Noir and Surrealism to Jean Rollin” by Virginie Sélavy. This essay is featured in “Lost Girls: The Phantasmagorical Cinema of Jean Rollins,” which is available now. To celebrate the book’s release, curator and editor Samm Deighan will be on hand to introduce a special screening of Rollin’s 1971 film “The Shiver of the Vampires” at the Brooklyn Horror Festival on October 14.
Usually deserted or abandoned, often in ruins or in a state of decay, sometimes captured just before demolition, always bearing the melancholy traces of human presence, locations are key to Jean Rollin’s cinema and often were the starting points for his films. Three in particular recur throughout his work: the famous Dieppe beach (specifically Pourville-sur-Mer), the cemetery, and the castle. The latter two are typical Gothic locations and an »
- Indiewire Staff
The era of cinema referred to as Eurohorror is defined by its eroticism, over-the-top violence, and psychedelic supernatural approaches to storytelling. It’s a rabbit hole of movie culture. There are twisting avenues and bizarre subsections that seem endless, but few filmmakers created a library as compulsively watchable and weirdly hypnotizing as Jean Rollin’s. This man’s filmography is massive, a good amount of them representing his work-for-hire hardcore movies and the cheesier selection of horror films. One gets what one might expect: waif-like young women seducing men, seducing each other, and drinking gallons of bright red blood.
Yet something sets Rollin’s films apart from similar offerings: they’re literate. Rollin draws many of his plots from classic Gothic romances. He must have adapted Carmilla in one form or another a dozen times. Sheridan Le Fanu’s story, about an innocent girl seduced by a lonely but evil companion, »
- Ben Larned
Who is Isabella Stone?
If you stuck around for the promo for The Blacklist Season 4 Episode 13, then you already have a tidbit of an answer and a face behind the name.
But that aside, just who is this character that is attacking Red’s organization? Why is she coming after him? What is the deeper meaning behind it?
It’s the type of name drop that can keep Red sitting down and us viewers eager to find out just what type of character Red is going up against.
Clearly, The Blacklist Season 4 is trying to go somewhere different with respect to Red’s story.
I’m interested to see what his being targeted will mean going forward.
The name drop of Baldur Maggnuson on The Blacklist Season 4 Episode 11 certainly piqued my interests in Red facing off with a new nemesis.
The Blacklist Season 4 Episode 12 revealed he was pretty much a red herring, »
- Sean McKenna
3 items from 2017
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