Happy #SawX Day!
While no film in the main franchise has been directed by a woman, an interesting bonus feature on the Saw II DVD was. The Scott Tibbs Documentary tells the story of the titular Scott Tibbs, who develops an obsession with Jigsaw following the disappearance and presumed death of his supposed best friend Adam Stanheight. The mockumentary is the only found footage entry in the franchise, and even features an appearance by Shawnee Smith as Amanda.
The Scott Tibbs Documentary is just 1 of the 31 films on this year’s Femtober list. Feel free to follow along with me here, on Instagram, or Letterboxd!
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Sight and Sound’s Greatest Films of All Time watch challenge #7 - Madame de…, directedy by Max Orphus, 1953 (film =90 out of 100)
The next group of tied films are just as varied as the films tied for 95th place on this list and I’m starting this batch with Madame de…. by Max Orphus, also known as The Earings of Madame de… here in the states. The film tells the story of Louise, an aristocratic woman who is married to a high ranking general in the French army. The marriage between these two resembles a companionship rather than a relationship, with the two being childless and sleeping in separate rooms. The core drama is centered around a pair of earrings that were gifted to Louise by her husband on their wedding day, which she sells back to the jeweler who made them and then pretends to have lost. The earrings keep reappearing and disappearing throughout the film, representing loneliness, indifference, love, desperation, and obsession all at different points depending on who has given the earrings to whom and why the earrings are forced to move hands once again.
Orphus’ camerawork is so delicate and fine-tuned here. I think it’s rather rare to see a camera that centers a woman like this in the time it was made. A lot of these French romances of the time period tended to focus on a male character’s feelings on a woman, but that’s not the case here. Orphus puts Louise’s feelings first and foremost, with the opening moments of the film focusing on just her hands as she moves through her jewelry trying to decide what she wants to keep and what she wants to get rid off, finally settling in on a view of how she looks in the mirror, holding the earrings to her face. This way of moving the camera and taking control of the space in order to center things on Louise is carried out even in how Orphus weaves the camera in and out of rooms. There’s so many fantastic ways he uses objects as barriers both in shots and as metaphors for the society that Louise, her husband, and her new lover live in.
In the 2012 list, Madame de… was tied for 93rd place with nine other films. Most of these films also made jumps higher in the list and those that didn’t fell off in favor of more recent films and first time appearances thanks to the wider voting base for the 2022 list. I do find it interesting that despite how different Madame de… is from the other films it shared 93rd place with in 2012 is that it made the smallest jump this year even though the expanded voting range theoretically should’ve allowed it to rise much higher in the rankings like other women-centric films did this time around.
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Little Zuko and little Azula love Lu Ten.
They love Lu Ten so much, they successfully smuggled themselves into Lu Ten's baggage when Lu Ten left to go fight.
Lu Ten, meanwhile, finds out that his little cousins snuck along for the ride way too late.
He knows they're gonna lose the fight.
He isn't about to let a couple of little kids die like that, murdered by Ba Sing Se soldiers too hyped up by war.
He may have been prepared to put his own life on the line, but he's not sacrificing Zuko or Azula's. But he also knows that if he flees the field with them, then Ozai will absolutely use that as an excuse to "punish" his own children.
Lu Ten does not want to know what that punishment entails. He is, in fact, more terrified by whatever it may be than the literal war raging outside his tent.
So.
So.
He swallows his pride for his country, his love for his father, and his dreams of being a successful general.
He grabs the kids, fakes his death, and runs.
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You know every single fandom ever has done the merman AU. There is a mountain of fanfiction and fanart out there for merman AUs. You think of a popular ship, I guarantee you there is merman AU fanworks of it.
OFMD just decided to bring the merman AU to canon for a hot moment. A bold move. A batshit crazy move. A fucking power move in my opinion. Anyone doubting this show was for fandom can no longer doubt it. Call it cringe or embarassing all you like, but I am so fucking impressed they did that. Amazing. 10/10 no notes. Sorry to any Kiwi's present but Rhys Darby makes for a very hunky merman too. They fully dedicated themselves to getting New Zealands funny uncle into a proper silicon merman tale, complete with pretty flowy fins and actual GLITTER and made him swim up to Taika Waititi underwater in a recreation of that scene from Splash. No one is doing it like them. I think the only way a show could top this is somehow bringing omegaverse to the silver screen... but that is perhaps a tad too far across the fandom/canon divide!
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FEMTOBER BLOG: Fridays & Franchises
Happy Friday the 13th!
While no woman has directed an installment of the Jason Voorhees saga, there have been a few franchise films that women have helmed, including one featuring Jason's rival Freddy Kruger, Freddy's Dead: The Final Nightmare, directed by Rachel Talalay.
Perhaps somewhat predictably, Freddy's Dead received poor reception but was a modest box office success, outgrossing its previous installment. The movie was relatively tame in its violence; Talalay instead wanted to focus on more surreal meta humor that the series had begun to stray from. True to its name, Freddy's Dead is the last film in the original Nightmare canon. The next three installments (New Nightmare, Freddy vs. Jason, and its 2010 reboot) all existed in a separate canon from the original franchise. While Freddy's Dead is not necessarily looked on fondly, I personally find it to be a very passable installment in a franchise I otherwise don't really enjoy. The 90s introduced the more acerbic side of humor in horror, so the slapstick goofiness of Freddy's Dead feels like a fitting goodbye to the previous decade.
The most powerful man in horror currently, Jason Blum, infamously stated in 2018 that "There are not a lot of female directors period, and even less who are inclined to do horror." He's since rightfully walked back on this statement, and while Blumhouse - under its various labels - has produced a fair number of horror films directed by women on streaming and television, theatrical releases of these films are few and far between. Enter Black Christmas (2019) directed by Sophia Takal.
Black Christmas is an interesting beast. On first glance it seems as though there's heavy studio interference. There's virtually no language or blood, and the story seems fractured. How much interference, it's hard to say. Sophia Takal stands by her vision for the film, wanting to make it as feminist as possible for a PG-13 audience. The end result, unfortunately, is underwhelming. Black Christmas ultimately feels like a shadow of its predecessors. While the 2006 remake is also maligned, there's a certain level of insanity that serves the film well in hindsight. The 2019 version often feels less focused on horror and more on identity, a criticism I hate to make about a female-directed film. Black Christmas's negative reception may have helped it fade into obscurity; in addition to being a critical failure it was also a box office bomb. I'm not the biggest fan of Takal's work, and certainly not of Black Christmas, but I think the most important takeaway we can have from this film is that women should be allowed to fail. We do not need an all or nothing approach to intersectional filmmaking. Sometimes things can be bad, and sometimes they can be worse than bad. We persist.
To date, Black Christmas is the only major theatrically released Blumhouse horror directed by a woman. Of course, this will change in just a few weeks with the release of Five Nights at Freddy's, directed by Emma Tammi. I can't say I'm particularly excited about the content of the film, but the prospect of a highly anticipated studio film directed by a woman is a major milestone. Between FNAF and Barbie, it's a good year for women to be making films, but of course there's always room for more.
My biggest pet peeve with major films directed by women is the passing of the torch to a male director when the first film succeeds financially (see Twilight, Fifty Shades of Grey, To All the Boys I've Loved Before, etc.). Blumhouse is obviously planning on making FNAF a franchise IP, so it would be great to keep the momentum going with Tammi or another woman continuing to lead the series. Fingers crossed!
If you're interested in any other female-directed franchise horror films, check out the following:
•Candyman (2021), directed by Nia DaCosta
•See No Evil 2, directed by the Soska Sisters
•Critters 3, directed by Kristine Peterson
•The Slumber Party Massacre series
•The Pet Sematary Series, directed by Mary Lambert
•Sorority House Massacre, directed by Carol Frank
•The Fear Street Trilogy, directed by Leigh Janiak
•V/H/S/94, 99, and 85
•Darlin', directed by Pollyanna MacIntosh
•Mirror, Mirror, directed by Marina Sargenti
and more!
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