House of Psychotic Women (Paperback): An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films

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women, alucarda, diabel, carrie, la novia ensangrentada, femina ridens, let’s scare jessica to death. all these films bring me a deep sense of belonging, my own scarred psyche share something with these women - paranoia, desperate anxiety, apocalyptic hysteria; films that focus on the experience of being a woman and not being shamed for having such destructive emotions. i remember reading a blog post called “horror movies are one of the few places women are told their fears are real”, which it resonates deeply with me and the internalization of anxiety and guilt i sometimes feel for being a “crazy bitch.” and that’s where my personal appeal for extreme cinema comes from. Nicoletta Elmi: Italian Cinema's Imp Ascendent — Video essay by film scholars Alexandra Heller-Nicholas and Craig Martin

House of Psychotic Women Rarities Collection - High Def Digest House of Psychotic Women Rarities Collection - High Def Digest

strong>FOOTPRINTS (93 mins: U.S. Cut/96 mins: Italian Cut/1.85:1/English Mono/CC, Italian Mono/English Subtitles) Audio Commentary For I LIKE BATS By Kamila Wielebska, Actor And Co-Editor Of A Story Of Sin: Surrealism In Polish Cinema In this pioneering work, anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. Tim Lucas of VIDEO WATCHDOG called it “groundbreaking,” no-wave icon Lydia Lunch called it “a masterpiece,” and Molly Ringwald said she “devoured this compelling, surprising, and moving book.” A six minute introduction By Kier-La Janisse (sporting an excellent Jamie Gillis shirt) starts the extras off. She offers up some welcome detail on Muriel Spark’s life and career as well as some thoughts on Elizabeth Taylor’s character and what she goes through in the film.Full Book Name: House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films In the most criminally underseen giallo of the ‘70s, Florinda Bolkan (A LIZARD IN A WOMAN’S SKIN, FLAVIA THE HERETIC) stars as a freelance translator who wakes one morning missing all memory of her past three days. But will a trail of odd clues lead her to a place where perception and identity are never what they seem? Nicoletta Elmi (DEEP RED), Evelyn Stewart (THE SWEET BODY OF DEBORAH), Lila Kedrova (THE TENANT) and Klaus Kinski co-star in this “visually stunning gem” ( Mondo Digital) – also known as FOOTPRINTS ON THE MOON – directed by Luigi Bazzoni (THE FIFTH CORD) with cinematography by three-time Oscar® winner Vittorio Storaro (THE BIRD WITH THE CRYSTAL PLUMAGE), now scanned in 4K from the original camera negatives.

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The film is not something I feel can be summarized in any meaningful way, but apparently, all of the actresses were on LSD throughout the filming process, which makes complete sense based on [gestures wildly] everything. This film is a difficult but rewarding watch, made all the better by supplementary interviews with actresses Sheila Allen, Natasha Morgan, and Penny Slinger. After sitting through this nearly two-hour assault on the senses, I was thankful for the Severin special features, which helped me sort through some of my more complex emotions. Expect a full podcast episode on Jane Arden in the near future.Next up is 1985 vampire horror comedy I Like Bats, directed and co-written by Grzegorz Warchol. The film presents itself a gothic horror film with the free visual style popularized during the Polish New Wave. Or rather, it’s presented in a style that apes the conventional trappings of American horror and comedy productions, but done with such aesthetic transgression towards those productions that it becomes its own thing. Simply, just see it. It follows the life of a single young female vampire Izabela (Katarzyna Walter), who loves to feed on the various suitors and sleazebags that enter her orbit. But soon she meets the man that has her feeling a different thirst, a romantic one! This is perhaps the best discovery in this set and is indicative of the kind of essential curation that is offered throughout the set. I truly cannot recommend watching it enough. The film was released theatrically in its native Spain in August 1974 as Los Ojos Azules de la Muñeca Rota. The film was released theatrically in the United States by Independent-International Pictures in April 1976 as House of Psychotic Women. Of course, it’s easier to appreciate the combustible power of Carrie White from a safe distance, with a screen between us and the flames she unleashes. “Faced with neurosis in film or literature, we want to investigate rather than avoid,” Janisse wrote in the introduction to “House of Psychotic Women,” and ten years on she tells IndieWire that she somewhat shot herself in the foot there. “I wrote a book about women and mental illness and this has resulted in a lot of women with mental illnesses wanting to talk to me. They’re like, ‘You’re one of us,’ but the problem is that I’m terrified of other people who are like me.” Fascinating, engaging and lucidly written: an extraordinary blend of deeply researched academic analysis and revealing memoir.”