supernatural

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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.

 

Crazyhead’s Raquel: Susan Wokoma, Women in Horror and the Next Generation of Slayers

Published February 20, 2017 by rmpixie

crazyhead

Crazyhead (Netflix, 2016)

 

Buffy the Vampire Slayer (1997-2003) was a phenomenon that continues to live on. A TV series spawned from the 1992 cult film, the fandom for a spunky high school student and her crew of friends as they battled vampires, demons and other supernatural fare while dealing with real issues knew no bounds, and new fans of her quest to save the world from creepy crawlies spring up even to this day.

Enter a new generation of shows that have found a home on Netflix. Here, writers and directors have the free reign to offer more than your local cable provider with shows like smash hits Stranger Things (2016), Luke Cage (2016), and Daredevil (2015). There’s also room and the desire for many international contributions as well, including the 2016 comedy horror from E4, Crazyhead.

Crazyhead is the story of Amy (Cara Theobold) and Raquel (Susan Wokoma), two young women who suffer from what doctors think is a mental illness. They see things – people with demonic faces – and are continually told that it’s all in their heads. When they meet one night after a frightening attack and realize they both see the same thing, they join forces to destroy these demons on earth. Raquel also has a special lineage that makes her of interest to the devilish clan, and along with Amy’s perverse puppy-dog of a friend Jake (Lewis Reeves), they go through some crazy hijinks to find answers and not get killed.

With this being Women in Horror and Black History Month, I must focus on British-Nigerian Susan Wokoma, the woman behind the off-the-hook Raquel. I first noticed her in hysterically funny and outrageous Chewing Gum (2015-2017) as the main character’s religious and fearful sister Cynthia. Her performance kept me laughing and cringing, and I was thrilled when I saw her in Crazyhead. Here, she once again kills with one liners and holds her own as the sharp-tongued and zero-filtered but vulnerable Raquel, who just wants to kick some demon ass and figure out life as a young woman with this unbelievable vocation. Wokoma breathes a vibrancy into the character that allows her to take up space and be present, even declaring at one point that she deserves better from Amy since she is a “strong, powerful black woman.” Even though Raquel has issues connecting with people and making friends, she has a great relationship with her patient brother Tyler (Arinzé Kene), full of playful jabs, sibling rivalry and lots of love. I also applaud the writer Howard Overman for making her confident in the way she looks and her space as an attractive black woman. Raquel gets “hers”, she is sexual, she is attractive and doesn’t look to others for validation, even though she may be looking for love. It is refreshing to see a black female character in a leading role own her sexuality in a healthy, non-stereotypical way like it was meant to be treated; like it always had a place at the table. North America should take note of this representation of female sexuality in general.

 

Her counterpart Amy is the perfect foil for her zany observations and plans with Amy’s voice of reason as a helpful, if ignored, counter argument for Raquel’s actions. Together they are a believable representation of young women in today’s world trying to carve out a space for themselves while dealing with the trials of being “normal”. This brings to light a couple of things: it shows how as a woman, your mental health is sometimes glossed over with medications and misunderstanding, and how once they found each other, Amy and Raquel’s bond strengthened their courage and belief in themselves. Although they have some rocky moments in their relationship, it is a real sisterhood.  In terms of mental illness, the title is a touch misleading as they are not actually mentally ill but battling supernatural forces.  They are however, at the mercy of either indifferent mental health professionals or ones that have an agenda.  Either way, this brings out how those living with mental illness may go mismanaged or pushed out of the medical system without much thought to their situation.

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Crazyhead is a comparable British counterpart to Buffy. It holds it’s own as a show, but it wouldn’t be here if Buffy hadn’t blazed a trail, and that’s ok. Joss Whedon paved the way for shows to push the envelope and have fun doing it.  Like Whedon, Crazyhead’s  writer and producer Howard Overman ensures that the dialogue is sharp and funny with a good amount of raunch, and thanks to the cast members, the delivery is on point.  He’s worn the same hats and worked his magic for The Adventures of Merlin (2008-2012), as well as being the creator for The Misfits (2009-2013), Atlantis (2013-2015), and the UK Dirk Gently (2010-2012). Each of these series has come in with a bang, created a huge following and left before they overstayed their welcome. I have complete confidence that Crazyhead will do the same and make a lasting memory in the world of #BlackGirlMagic as well as in the minds of horror comedy fans for years to come.

Crazyhead is streaming on Netflix now, so do yourself a favour and watch!

Spook Lights 2: More Southern Gothic Horror for the Soul

Published January 23, 2017 by rmpixie

 

 

spooklights2

Spook Lights 2:  Southern Gothic Horror

(Amazon Digital Services LLC, 2017, Kindle Edition)

 

From childhood scares to the horrific and sensual, Spook Lights 2: Southern Gothic Horror gives us more of the steamy Charleston, South Carolina-based horror from author and editor Eden Royce.

Currently based in the U.K., Royce has stayed faithful to her Southern roots, and while she is a fan of the supernatural in general, this time around she decided to focus on the human side of horror, inspired by wise words from her beloved grandmother about being wary of humans and not movie monsters.

This second collection takes the foreboding and magic of the first and once again weaves it into everyday life with stories like To-Do List, The Dating Pool, and Blood Read. Other stories like Laughter of Crows and Haints of Azalea Hall blur the lines between the living and the dead, and there is a timelessness with each one that makes you feel a nostalgic yearning from within.

Royce is very good at incorporating a nonchalant acceptance with each tradition of magic. The everyday fables and superstitions are like a collective memory or common knowledge with the characters; ingrained within the communities as a living history. They remind me of my own West Indian background and old wives’ tales I would hear as a child, casually tossed into conversations without the blink of an eye.

The historical content in the stories is just as rich as the first, but the human element prevalent in this collection. She uses the fragility of uncertainty within our human existence and reaffirms it with ancestral root magic and powerful women. Doubts soon dissipate as each character sees their true selves be it good or bad, and they either succumb or escape the terrors that plague them.

Her final story Folk will resonate with readers for many reasons. I myself will go back to read it several times and glean something different each time I do, but I think it tells us to remember where we come from and celebrate or take heed of it.

Eden Royce definitely remembers her roots, and not only revels in them, but documents her ancestral traditions, showing her pride in this wonderful sequel set in a sensual and mystical world.

Spook Lights 2: Southern Gothic Horror is available now on amazon here, and check out the rest of her writing here.

Follow her on her sites:

www.edenroyce.com

www.darkgeisha.wordpress.com

http://www.twitter.com/EdenRoyce

And read my review of her first volume here.

The Blood in the Snow Canadian Film Festival: Why Toronto Horror Fans Need to Go

Published November 8, 2016 by rmpixie

bits2016_horz_banner

 

This November 24th-27th, the Blood in the Snow Canadian Film Festival kicks off it’s 5th year. Why is this important? Because it’s Toronto’s only festival dedicated to Canadian genre film. And why is that important? Well, Canadian film, while it’s gaining in popularity, generally doesn’t get a lot of focus, often being overshadowed by big ticket blockbusters. Independent genre film gets even less attention. It’s difficult to see Canadian genre film on the big screen, and that’s where the Blood in the Snow comes in. Festival director Kelly Michael Stewart created the event to showcase Canadian horror, genre and underground film to make sure talented filmmakers get a chance to show their original films in a theatre to genre-loving fans.

This year there will be 33 films which is a record number for the festival. With 9 feature films and 24 shorts, you’ll find everything from documentary (another first for BITS!) to the supernatural; sci-fi and silent film to grindhouse (see below for some of titles playing). All of the films will either be a Toronto or world premiere, making the festival the first stop for anyone looking to see fresh or buzzed-about films that you may not see in wide distribution.

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The festival will also be held in a new venue. After several years at the beloved Carlton Cinema, there was a need to accommodate more people after sell out and encore screenings pushed the theatre to capacity. This can now happen at the Cineplex Cinemas-Yonge Dundas with more available seating as well as the same convenience of transit at the theatre’s doorstep.

BITS is there for horror fans of course, but it also serves the very people they showcase. Industry panels on Friday November 25th will bring you experts in the legal, distribution and funding areas of the film industry who will share valuable advice. It will be a day of insight that everyone who is interested in or already involved in the film industry needs to attend. Separate industry passes are available for the panels and will also get you into 3 screenings of your choice.

As a former pass holder (and now BITS programmer), I’ve met the most interesting people who have become friends and colleagues. There will be a chance meet with other festival attendees and staff, plus cast and crew from the films at The Duke’s Refresher & Bar, a nearby pub that will host the 4 nights of schmoozing after screenings.

So why should Toronto genre fans go to the Blood in the Snow Canadian Film Festival? Because you are a genre-loving, discerning bunch celebrating indie horror and genre films by attending screenings and spreading the word. We live in Hollywood North after all, and we need  to make a place for indie film by supporting our local talent.

You can get passes or individual tickets.  The full festival passes come with some great perks (i.e. a fantastic goody bag), and tickets make it easy for you to pick and choose what you want to see, even though you should see every film at the festival. So what are you waiting for?! Get your tickets before they sell out!

Follow this link for your one-stop shop to passes and tickets: http://bloodinthesnow.ca/BITS2016.html

or visit The Cineplex website here (when you go to purchase, you must enter the location “Yonge Dundas”):  https://goo.gl/yy9cTH

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