TIGERS ARE NOT AFRAID and the Justified Inclusion of Child Violence within Horror Films (Originally Published for Bloody-Disgusting.com)

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(Original post can be found at Bloody-Disgusting.com. This editorial contains spoilers for Tigers Are Not AfraidIt Chapter TwoThe Nightingale, and The House That Jack Built.)

Issa Lopez’s poignant and revelatory Tigers Are Not Afraid has made such an impact on the horror genre because it differs from so many others films that are given to us: its narrative is told through perspectives that we never see enough of in mainstream cinema; its fantastical elements often add to the film’s sense of peril, as opposed to solely bringing the characters comfort; and, most interestingly, it contains a fearlessness to incorporate grim (but necessary) portrayals of child violence into its storytelling.

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The 10 Most Memorable Mother Figures in Horror Since 2010 (Originally Published for NightmarishConjurings.com)

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The original post can be found here.

It’s Mother’s Day, and no one sacrifices their heads and literally goes to hell more for you than your mother.  Within the horror genre of the 2010s, we’ve witnessed brave moms, nurturing moms, witchy moms, mentally ill moms, grief-stricken moms, and everything in between, creating one of the most unforgettable decades for motherly horror than ever before.  Here are the 10 Most Memorable Mother Figures within the Horror Genre of the 2010s. (Spoilers Below)

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‘Hagazussa: A Heathen’s Curse’ is one of 2019’s first horror masterworks

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Aleksandra Cwen in Hagazussa (Courtesy of Doppelganger Releasing)

Coming off 2018– a highly sociopolitical year that contained multiple depictions of witches, femininity, and black magic within horror through the likes of Suspiria, Pyewacket, and Chilling Adventures of Sabrina– Lukas Feigelfeld’s debut feature film Hagazussa: A Heathen’s Curse, which has been circulating the festivals since fall 2017, will finally be available to audiences this month.  And although a slightly different take on witches than we’ve been seeing as of late, Hagazussa is arguably the most subtly gut-wrenching.

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Interview with ‘Hagazussa’ writer/director Lukas Feigelfeld

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(Doppelgänger Releasing)

I had the opportunity to speak with Hagazussa: A Heathen’s Curse writer/director Lukas Feigelfeld about his highly anticipated feature film debut, his transition into filmmaking, his visual style, Pagan folklore, comparisons to The Witch, “elevated” horror, and his sympathy for female witches.  (You can read my review for Hagazussa here.)

The film’s synopsis, according to its Doppelgänger Releasing site page:

In a remote Alpine village in the 15th century, the orphan Albrun grows up to become a marked woman.  The scapegoat of ancient superstitions and monstrous misogyny, this self-styled witch begins to assert her otherworldly birthright.  The plague she conjures makes human cruelty look pathetic and small by comparison.  This atmospheric debut feature from Lukas Feigelfeld is a haunting Pagan death trip and a startling vision of psychedelic horror.

Bloody Disgusting and Doppelgänger Releasing presents Hagazussa: A Heathen’s Curse, opening in limited theaters on April 19, and will be available on VOD, DVD, and Blu-ray on April 23.

Read on for our conversation. (Special thanks to Bloody Disgusting and Margarita Cortes.)

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Netflix’s Veronica proves that a film doesn’t have to live up to its “scariest movie” moniker in order to be effective (spoilers)

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When the fuck are characters in horror films going to learn not to mess with ouija boards?

I’m about two-three weeks late (sue me) checking out the Spanish horror film Veronica that people have dubbed one of “the scariest movies ever made” and, while I figured that I wouldn’t agree with that marketing necessarily, I was still pretty impressed.

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Yay, Nay, or Just Okay: Catching up on recent viewings

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I’ve been MIA here on Horrormonal for the last seven weeks (2018 has been off to a rough start for me) but now I’m back.  And you know damn well that I still managed to squeeze in a few horror movies that I’ve been slacking on seeing.  Instead of dedicating a long, thorough review to each of the five films I’ve watched recently (because some of them just flat out DON’T DESERVE that much attention anyway), let’s play a game of “Yay,” “Nay,” or “Just Okay”… Continue reading