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Rising Above: The Women in Hounds of Love *Spoilers Below!*

Published May 12, 2017 by rmpixie

Hounds of Love (2016, 1 hr, 48 mins.)

In Hounds of Love, Ben Young’s first feature-length film, a murderous couple in the city of Perth, Australia, stalks teenage girls to fulfil their sexual fantasies. The acts are orchestrated by John (Stephen Curry), a sexual predator who is cold, mean and conniving. His character is riveting because Young gives you just enough to wonder about what happened to this man to make him so diabolical, but the women surrounding him are equally compelling.

The film is set in 1987, when women were still coming off the gains from first wave feminism only to be kicked back by conservatism in the Reagan era. Traditional values were revisited and shunned by women who wanted to blaze trails and be the independent people their sisters before them fought for. I’m not sure if Young took any of this into account as he wrote the film, but with this era as a backdrop, there’s an interesting theme of traditional versus the modern woman running through the story.

Keeping second-wave feminism in mind, there are two distinct representations of women in the film. We have Vicki’s mother Maggie (Susie Porter) who is gaining her independence after leaving her husband, and Vicki (Ashleigh Cummings) herself, a young adult pushing the boundaries and also looking for her place in the world without any parental interference. These two characters represent the burgeoning modern woman. Evelyn (Emma Booth), John’s wife and murderous cohort, is the more traditional figure. She does the cooking, cleaning and looks after her man and his conquests, doing her wifely duties in an extreme way.

Cummings as Vicki just before she is abducted.

Maggie is spreading her wings. Newly divorced, she is starting her new life and hopes to maintain her relationship with her daughter. Divorce in the 80’s was no longer taboo, in fact, it was becoming more common at that time due to changes with laws in North America and Australia. As a child of divorce, Vicki is processing her broken family home and experiencing her rebellious teen years. She deals with it in a typical way by defying her mother, seen as the person who destroyed their family because she’s left both Vicki and her father. Vicki attempts to be her own person despite the upheaval, and even has some power over her well-meaning boyfriend as he writes her school assignments for her. Both women are making efforts to create their own identity. Evelyn, on the other hand, finds comfort in her relationship. She is John’s caretaker and literal partner in crime; the nursemaid to their victims and his dutiful wife. There is no defiance here, only the urge to serve and be wanted. The actions of all three have consequences of varying degrees, but Evelyn’s is the most extreme case by living under the façade of a traditional role while she aids and abets the criminal activities of John.

Each woman will affect one another’s lives in the most unsettling of ways. When Vicky rebels against her mother and sneaks out to go to a party, she is lured into captivity by Evelyn and John. She is tough, however, and thinks on her feet, not succumbing completely to the fear of her abduction. As Evelyn cares for her captive, she forces information out of Vicki, and becomes jealous of her when she realized John’s interest in their captive. Evelyn wants to be as defiant and desirable as the teen, and when she fails to stand up to John, wants to break Vicki’s spirit to prove John loves her more.

We find out that Evelyn comes from a history of abuse that John rescued her from, and it’s the only thing she knows. She is angry, isolated and desperate, and needs something to care about since her children from a previous relationship were taken from her, so John gives her a dog. Her dog is a replacement for the lost children and her only tie to maternal feelings. Director Young said he used the dog to create sympathy for Evelyn, and it does indeed do that as it finds a violent end. But what we must remember is that she is part and parcel with John’s evil machinations. Even though she fears him and fears losing him, she knows right from wrong and still decides to participate. It’s this sobering fact that she played a part in the deaths of their victims, and that her washing the bloodied sheets and cleaning up the crime scene is just as heinous as the act itself. She is the woman that will do anything for love.

John (Curry) and Evelyn (Booth) have a moment together before the brutality.

Evelyn and Maggie are complete opposites. Evelyn represents the perversion of domestic subservience. She does as John wants, takes care of the home, and yearns to be a mother where Maggie refuses this role. Maggie moves into her own house and wants to start fresh, but the resentment felt by her husband when their daughter goes missing is a fresh wound that he picks at, blaming her for their child’s disappearance and shaming her for her independence. Maggie shows inner strength in this situation as she refuses his patronizing help, determined to find her daughter; in fact, Maggie ignores the patronizing police officers as well and carries on with the search led by her instincts.

Where Maggie stands up to her husband, John taunts Evelyn about losing her children and she takes it. Her traditional mindset in this setting is a distortion of the abuses women fight against. Top it off with John’s monstrous and manipulative patriarchal power, and you have an extreme microcosm of what traditional norms do to women who reject them. Maggie’s punishment for leaving the nuclear home is her daughter’s rape and torture.  At one point Evelyn tells Vicki she should have listened to her mother and stayed home after Vicki tells her the truth about her dog’s role and that John is just using her. Evelyn also judges Maggie even though she doesn’t know her, sneering at the broken marriage; mocking Maggie’s independence perhaps because Evelyn too has tried to leave but failed on her own. She doesn’t want to focus on the wrongs she has done to the young women they have captured, instead emboldened by falling back into John’s favour, she taunts and blames Vicki for the crimes committed against her.  It’s as if Evelyn and John feel justified in their actions because these independent women didn’t toe the line and stick with traditional roles.

Evelyn and John lord over the girls like a twisted traditional family. They punish those coming up in the new world, dominating girls and putting them in their place. They don’t put them in a shed or a dark, dank basement, instead their victims are placed in a very regular bedroom, held down with chains. It shows their arrogance and how close evil lies in seemingly safe environments. We never get to know John’s backstory or internal process, but it seems that from the relationship he has with other men, namely his drug dealer, he is the low man on the totem pole and his displeasure manifests in obsessive behaviour and manipulating, dominating, or killing women.

*************************Spoiler Alert*******************************************************

There is only so much unrealistic traditional values can affect its environment and only so far it can go with the fantasy that everyone will accept their roles. The same goes for John and Evelyn. The murderous couple’s vision of marital bliss and conservative appearance is skewed by their fervour for sex, blood and torture and they aren’t as perfect as they see themselves. Even though John calls Evelyn his “queen” and he seems to love her in a way, neighbours complaining about their toxic relationship reveals that imperfection. Eventually there has to be a breaking point and Evelyn will reach it because of her insecurities surrounding her desirability. With this crack in the façade, it’s only a matter of time before things start to crumble.

Maggie finds the neighbourhood where Vicki is being held and frantically shouts her name in the street. In this moment, Evelyn relates to Maggie’s loss as a mother and must make a decision. Egged on by Vicki’s goading, she chooses to kill John because he has denied her of her children as well. In this moment, she finally stands up to him, and becomes independent like Maggie and Vicki. Her fate is sealed but she is now free of a domineering male figure; freeing herself, and the other women around her from the torture. She is by no means a heroine, but at the same time becomes a liberator of sorts for Vicki and herself.   Her last act is cold comfort for redemption, but at least closes the circle of evil she has perpetuated.

There is so much to say about male and female relationships, women’s power and accountability in such a brutal way in this film. I have only scratched the surface, but in a nutshell, Hounds of Love is not only a terrifying psychological thriller, but an in depth look at how women who step out of prescribed roles overcome criticism, sexism and brutality with inner strength.

*Read my review of the film on Cinema Axis here.

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Psychics, Sadness and Mystery in Assayas’ Personal Shopper

Published April 6, 2017 by rmpixie

Personal Shopper (2016, 1 hr, 45 mins.)

 

It’s no surprise that death is devastating for those in mourning. Missing loved ones who have passed on comes in many forms but most of us would confidently say that faith (or lack thereof) aside, we don’t really know what happens to our soul after the physical body ends. In Personal Shopper, we see one woman’s struggle with the death of her twin brother and her belief in the afterlife. It brings to light deeper questions about life and death staged before the backdrop of Paris, the fashion world, and its trappings.

Maureen (Kristen Stewart) works for a self-centered celebrity and socialite Kyra (Nora von Waldstätten) as a personal shopper. Her job is to find the latest and greatest in high fashion and bring it back to her famous employer since her high profile makes it impossible to shop anonymously. Maureen has also recently lost her twin brother Lewis to a heart defect she also suffers from. His surviving partner Lara (Sigrid Bouaziz) wants to sell their house, but Maureen who is a medium, insists that Lewis will send her a sign from beyond, so she spends a few nights in his crumbling house waiting for him to appear. He was a medium like her, so her determination is fueled by his once stronger psychic abilities and their vow to make contact from the other side. When she does contact the spirit world, she also receives mysterious text messages topped off with an unexpected murder that stops her in her tracks. Maureen’s quest for answers becomes more confusing, leaving her in a state of shock and floundering for answers.

Kristin Stewart as Maureen waiting for a sign.

Personal Shopper is a horror, a film noir, a psychological thriller, and a ghost story. It is all of the above and none of the above at the same time, embracing and defying genre. Director Olivier Assayas created a film that’s in a class of its own using art, history and old school paranormal beliefs with 21st century technology and lifestyles to illustrate Maureen’s search for her brother’s spirit. It’s this artistic take that kept me riveted despite the slow burn pace.

Assayas captures Maureen’s loss well, and he also conveys the loneliness of this technological age we live in with Skype and smartphones being key methods with which she communicates. Even when she is with someone physically or electronically, she is separate, guarded, or unsure; from her shopping excursions to her Skype dates with her boyfriend. The smart phone as a thing of necessity in this day and age to stay tethered to this world also becomes an agent of isolation and intense paranoia when Maureen pleads with a nameless messenger behind the texts to reveal themselves.  Assayas takes a now commonplace device and gives it a more otherworldly, sinister presence.

Personal Shopper is also a lesson in how Maureen grieves. She throws herself into her work even though she flat out hates her fashionable job, but Paris is her main connection to her dead brother so she stays there as she waits for a ghostly sign, not ready to let go.  The world of fashion is a fleeting one; rarely delving deeply into the reality around it. Her psychic abilities seem to be stunted as she moves between posh shops in London and Paris to serve Kyra in this superficial arena. It shows how she herself seems like a spirit as she is lost between real life, the supernatural, the fashion world, and her uncertainty with what she believes and how she is perceived. Her only moment of self-awareness comes when the mysterious messenger asks her to do something forbidden, and she taps all too briefly into her desires in her confused and somewhat desperate state. It’s a strange moment in the film, but it makes sense as her character searches for a right fit, so to speak, in environments that while not hostile, aren’t hospitable to her either.

The look of the film is really beautiful. Yorick Le Saux, the cinematographer for Only Lovers Left Alive, does a wonderful job capturing the contrast of the dingy streets and stark sophistication of Paris. He is skilled at making the most of each setting, representing streetscapes and boutiques in their truest and most tangible forms. For anyone that has visited the City of Lights, you’ll feel nostalgic for its frenzied energy.

My only issue lies with the text messages and some of the ensuing actions asked of Maureen. While I really enjoyed these suspenseful interludes and there is definitely a point to them, they were problematic with some details that still remain unclear when the storyline makes a sharp turn. Stewart’s stellar performance as a tortured, uncertain and lost character written for her by Assayas, evokes a surprising amount of emotion that overshadows any inconsistencies in the narrative however, as you watch this poor soul wait for her brother to tell her something, anything as proof of an afterlife.

Personal Shopper is an artistic take on a ghost story and focuses on one woman’s uncertainty when mortality comes into question. See this film for it’s beautiful photography, a haunting performance from Stewart and an interesting albeit imperfect story about grief and the afterlife.

 

Grace Hallworth and the Oral Traditions of Trinidadian Ghost Stories and Tall Tales

Published February 22, 2017 by rmpixie

Last year, I gained a new co-worker that turned out to be my sister from another mister. We share a lot of similar experiences, good and bad, and also a Trinidadian heritage. When computer glitches made us scream out in frustration, my lovely co-worker would stage whisper “Obeah!”, eliciting uncontrollable giggles from both of us. Obeah is a West Indian term for witchcraft and general supernatural trickery, often thrown into conversation in a West Indian household with a casual knowing, as if every little thing was explained by that one word.

When she brought me a book on folklore from Trinidad, I squealed! Entitled “Mouth Open Story Jump Out” (which basically means you feel free to gossip or tell tales), this book contains all the stories my mother and grandmother used to tell my sisters and I, either to scare us into good behaviour or just freak us out in general. I could once again read about “La Diablesse” or “The Suocouyant”; remembering how frightened I was when the women in my family would recount the “true” stories from the Trinidadian backwoods, otherwise known as “the bush”. This book inspired me to dedicate a post for Black History Month and Women in Horror Month to Grace Hallworth, a Trinidadian storyteller who carries on the tradition of the island’s folktale and ghost stories in both the written and spoken word.

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Hallworth, retired librarian, has a number of children’s books under her belt. Born in Trinidad and moving to England in 1956, her storytelling and writing would honour the tradition of Trinidadian folktales for decades. There isn’t a lot of information on her since she is senior and now resides in a retirement home northwest of London, but she is still active and celebrated within the storytelling community and a great reference for those in the children’s literature and academia world.

Storytelling is ingrained in our human DNA; from the beginning of civilization it has brought us together, connecting us and keeping our traditions and cultures alive through the spoken word, song, dance and pantomime.  It is an exercise in remembering ancestry, entertainment and community in one fell swoop.  In island culture, a simple gathering can result in stories about aunts, uncles, cousins and all the weird and wonderful things they encounter in ” Nancy” stories, a word spawned from the original tall tale figure Anansi, the trickster spider from West African tales.

The stories I remember most were the aforementioned “La Diablesse”, a hoofed woman who leads men astray and “The Suocouyant” an old woman who becomes a ball of light and sucks the blood of humans and animals. I thought about these ominous figures in an abstract way, in the same way a kid thinks about the devil or the boogeyman. These were our boogeymen, or women as the story goes. They were ours and everyone else’s it seems, as these phantoms went by other names across the world, like the Phillipines blood sucker The Aswang and the Succubus who keeps company with The Soucouyant, who in turn shares similarities with the Spook Lights featured in Eden Royce’s collections of Southern gothic horror. Even the Loup Garou, or werewolf, stays the same in France and the West Indies. It never occurred to me then how connected these tales were until I started to write about horror themes critically.

Before each set of stories, Hallworth writes a paragraph or two describing the traits of these entities in the chapter, giving a context to the oral tale. You can see a common thread with the spirits and demons that only makes sense since Trinidad and Tobago are like many Caribbean islands that have a long history of colonization. On top of the indigenous people of the islands, settlers from Europe, Africa, The United Kingdom, South Asia and China came in as well, so there is no wonder that some phantoms share the same traits as their originators back on their home shores.  It’s actually comforting to know that Hallworth worked to validate and document these folktales so that they could stand with their global counterparts in unity as they scare children worldwide.

Hallworth preserves regional dialect or patois, traditions and nostalgia as well as the tales themselves.  Some of the stories provide a moral like be careful what you wish for or living in harmony with the natural world, and some were just meant to scare the bejesus out of you.  It is a feat the can’t be done without some effort, but she takes these oral traditions and commits them to the page with an ease that makes me hear my mother and grandmother’s voices as I read the words. At the very least, it would be a treat to hear Hallworth herself recite these tales, as she will still do from time to time in the English libraries and schools even though she is reportedly in her late 80’s.

As kids become more sophisticated with electronics and adult life readily at their fingertips, it’s comforting to know this little book of Nancy stories persists on library shelves so the original monsters under the bed or at our windows don’t fade away.  I am grateful for Grace Hallworth because it is through her book that I remember my mother (my original woman in horror) and my heritage.  She is a storyteller, writer, children’s author and an honorary woman in horror for preserving these tales.

Grace Hallworth is a patron for The Society of Storytelling in the U.K. and has been nominated for the Astrid Lindgren Memorial Award in 2016 and 2017.

For a list of all her books, check here.

Face Off Season 11 Episode 4: “Snow Queens”

Published February 16, 2017 by rmpixie

With all the snow burying the Eastern U.S. and Canada in the past week, it was only fair that the all-stars got a taste of the white stuff too this episode!

McKenzie brought winter to L.A. with real snow waiting for the artists as she introduced this week’s Elimination Challenge. Like the Snow Queens from The Chronicles of Narnia and Once Upon a Time, they had to create their own powerful, unique and beautiful queens inspired by a snowflake. The catch was they had two days instead of three to create their looks and they had to find their snowflakes that were buried in the snow surrounding them. Since some of the artists had never seen snow before, they had an impromptu snowball fight after the search, and then got to work.

Logan and Adam loved the shape of their snowflake and decided to bring a Warrior Queen to life. Logan worked on the cowl while Adam fabricated her armour. It was their turn to find a crack in their mold. They wanted to use silicone for their look and decided to still use it despite the crack and instead of the safer polyfoam to keep the integrity of their concept. Logan used a stencil to convey cracked ice, and they presented  a complete look for the reveal stage. Their Snow Queen was beautiful and fierce. The judges loved the tonal differences with the colours and Glen thought it was the best use of stencilling that he had ever seen on the show. Ve loved the profile and the dark lips which brought out her eyes. They were in top looks with Kiva the Amazon Mountain Queen.

George and Cig wanted to paint a frostbitten look directly on the model’s skin and layer silicone on top for an icy effect. Mr. Westmore thought it was an interesting concept, but cautioned them against using dark makeup underneath as it could be distracting, especially on the tip of her nose. George vaccuformed the lab skeleton to create a really cool sceptre with half a skull and spine. They painted the model with blues, purples and greens to create that frostbitten look and it showed up well through the silicone. I thought the face was too much with the icicle effect. The judges felt the jaw was too masculine and didn’t really fit the challenge, however, they were safe.
Niko and Cat were inspired by their snowflake and the Statue of Liberty. They created an Ice Sculpture Queen. Cat would sculpt the hair and Niko would do the brow piece. Mr. Westmore felt the hair would be too heavy unless it was made out of foam latex. They fabricated an ice torch and collar, but the collar proved to be an issue as it bumped up against the sculpted hair and they scrapped it. The look was simple but the judges didn’t like it. They though sculpting hair was a waste of their time, and it was uninspired and too literal with the Statue of Liberty reference. It also didn’t really look like the snowflake they chose. They were in bottom looks.

Tyler and Emily created an Evergreen Ice Queen. Emily sculpted a wooden chest similar to a corset. She paints landscapes for a living so this was familiar territory for her and understood textures. Mr. Westmore suggested doing a wash of paint to pull out the tree bark look in the sculpt. She also created a headband of branches to add to the hair. Their Evergreen Snow Queen in the midst of a thaw wowed the judges. The loved melting effect and Glenn thought the frozen tree aspect was brilliant. Ve loved the colours they used and thought it was movie set ready. Their complex thinking got them into top looks.

Ben and Evan also went with an Evergreen Snow Queen. They struggled with their concept but finally decided on a crystallized look. They also wanted to make her dark, like black ice. Mr. Westmore told them to keep beauty makeup light. They were really behind and had to apply a prosthetic during last looks which is really risky, plus finish their paint job. I liked the headpiece, but the judges thought the look was a misstep. Even thought Neville got the black ice concept, they still thought it was too dark and the chin piece looked like a beard. As luck would have it, they were safe.

Rachel and Gage found a snowflake that looked regal, so they created an Elemental Queen with ice spires. They vaccuformed the spiny pieces and sculpted prosthetics around them. Rachel also incorporated LED lights into the hair. They had to fix the facial prosthetic to even it out, but they created an acceptable look. The judges liked the concept more than the execution, and the beauty makeup could have been better on the character’s eyes, but they were safe.

Keaghlan and Melissa liked the idea of shards of crystals on their queen. They also made icicles but they had to make sure they didn’t look like horns as Mr. Westmore pointed out. They had to paint them silver to match the eyes. In last looks, Keaghlan felt the queen was too androgynous. On the reveal stage, the judges thought the queen’s brow bone was too low. The proportions were too masculine as well. Neville didn’t like the crystals as he felt you couldn’t tell what they were. They were in the bottom looks.

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The winners were Emily and Tyler for their great choices, execution and exquisite character.

The team going home was unfortunately Niko and Cat! They were the cutest, but the judges felt that at this point, one misstep would eliminate you. Ve was quite emotional and told them it was a very difficult decision. The artists were also really upset, but the tiny couple that could weren’t fazed and were determined to carry on with their business and love for their craft.

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