It’s a Scream, Baby! Hausu and Why Comedy Enhances Horror

A closeup shot of a gray haired older woman winking at the camera with a detached eyeball in her mouth.

|Riccardo Williams| n October 2025, I saw Hausu for the first time ever at The Trylon. I was so moved that I immediately went home and could not find a way to get the movie out of my head. After sitting and thinking about it for about an hour, I asked one of my friends who I thought would like the movie to watch it with me over video call. And so I had seen… Continue reading

All Consuming: Hausu

Seven young women named Kung Fu, Melody, Gorgeous, Fantasy, Sweet, Prof and Mac stand in front of a bus stop with a mountain landscape behind them with blue skies and some clouds.

|Matthew Christensen| In 2006 I moved from Minneapolis to Japan to teach English in one of the large adult language schools they have there. It was a good job, and my students were an enjoyable eclectic assortment of businessmen and women, housewives, retired folks, and high school students. One of the textbooks contained a simplified retelling… Continue reading

I Just Wanna be a Woman: Music of The Craft 

Still from The Craft (1996, directed by Andrew Fleming): four young fem presenting people are framed by a bus door. Behind them is a field. The person in the center of the frame has a snake loosely around her neck and a speech bubble that reads, “I just wanna be a woman.”

|Nicole Rojas-Oltmanns| “Now is the time, now is the hour, ours is the magic, ours is the power.” The first lines of The Craft (1996, directed by Andrew Fleming) focus us on the goal of the film’s creators, empowerment. Instead of a cute coming-of-age drama, we get sexism, racism, classism, depression, addiction, sexual assault, and… Continue reading

Loving and Cruel: The Craft and the Mean Streak in 90s Teen Movies

Four teenage girls stand in front of a painted wall.

|Andrew Neill| True magic is neither black nor white. It’s both because nature is both. Loving and cruel all at the same time. This line, spoken by Assumpta Serna as the enigmatic shopkeeper Lirio, may be explicitly about magic and nature, but it extends to the central focus of the movie around it… Continue reading

The Frequency of Heresy: Sound, Confinement, and Collapse in Alucarda

Justine and Alucarda gaze at each other in profile against a bright, hazy sky, standing before a towering figure in an eerie horned goat mask and pelt during a forest ritual.

|Victoria Breshears| When the White House deactivated entry badges for reporters from CNN, Politico, and MS NOW this September, the administration defended the lockout through the familiar vocabulary of institutional decorum. The move cleared the room of inconvenient questions. Deactivating a press badge does what political… Continue reading

Four “Oh Fuck!” Moments in Horror Movie Music

The Trylon Cinema's logo for "Horrorthon X," with a closeup of a person's eye peering through a slit of light, surrounded by darkness, and emblazoned with a red "X" in the center of the image.

|Matthew Tchepikova-Treon| In the fall of 2023, I suffered my first ever bike accident as an adult (though I’d experienced plenty as a kid, largely due to a general lack of self-regard for my body flying off dirt ramps, across alleyways, and through dark wooded terrain). In fact, I suffered three accidents in a matter of … Continue reading

Our Invisible Roommates: What The Conjuring Gets Right and Wrong About Living in A Haunted House

A man and a woman embrace outside of an older looking two story white house. They are under a curved, ominous looking tree

|Wil McMillen| I’m going to tell you something, and you can either choose to believe it or not. (Deep breath, exhale) I lived in a real-life haunted house for six months. From January to June 2013, my family and I were having our house renovated. During that time, we had to live in a rental house that had more than enough weird things happen to bring us to the conclusion that… Continue reading

How to Horrorthon

A woman with a smooth, completely bald head and dressed in a red bathrobe looms menacingly in front of a dining room table.

|Jay Ditzer| In Teenage Sex and Death at Camp Miasma, indie filmmaker Kris (Hannah Einbinder) has been hired to reboot Camp Miasma, an in-universe cult slasher franchise. Early in the film, she stops at a remote gas station, buys a DVD of Camp Miasma Part VI: A New Beginning, and fills a shopping cart with a mountain, or at least a hill, of candy. She later … Continue reading

Will the Real Goblin Please Stand Up

Black and white photo of four men. One man in back wears sunglasses with long brown hair and a sweater. To his right a man with long black hair and a goatee. To his right a man with short black hair and a bear wears a jacket with a turtleneck sweater underneath. In front a clean shaven man with long dark hair wears a black jacket and a scarf.

|Devin Warner| For those who are unfamiliar with the band Goblin (or as my Mom said upon hearing the Suspiria soundtrack she bought me for my birthday, “what is that noise?”), they are one of the most preeminent composers in cinema. They created … Continue reading

Suspiria’s Score is One of Horror’s Scariest Characters

Sonia (Susanna Javicoli) banging on a door in her apartment building.

|Lucille Hanson| “WITCH!” screams the Suspiria soundtrack every now and again, startling the viewers like it’s an accusation. With its frantic drums that feel like someone is chasing you down, the low bellows that feel like they’re coming deep from inside… Continue reading

Coming of Age with Dead Kids: The Cathartic Dread of A24 Horror

On the left, a middle-aged blonde woman stares in horror, her mouth agape. On the right, a blonde teen girl stares transfixed into the camera.

|Abraham Teuber| Have horror movies always been so romantic? As predictable as the changing leaves, the dating app normies whip out the ol’ “Let’s cuddle and watch a horror movie” line every October. The hulking recliners in chain multiplexes have enabled the canoodling. Raisable armrests and blankets… Continue reading

The Fierce and Downcast Eyes of Day of Wrath

In a sparse, dimly lit church, adorned by a tall white candle, a crucifix, and a covered coffin, Anne (Lisbeth Movin) sits in a chair, wearing a flowing a white gown, head downcast. Her mother-in-law, Merete (Sigrid Neiiendam) stands across from her in a dark gown, pointing at her accusatorily. Between them stand Martin (Preben Lerdorff Rye) and a priest in black robes with white collars. Everything is meticulously staged and ornate, much like paintings from 1600s Europe when the movie is set.

|Ryan Sanderson| I’ve loved (or at least enjoyed) most of the films I’ve written about in the six years I’ve been aware of Perisphere, but every now and again, we show one of my personal favorite films. You know the ones. The select group—some film nerds have them… Continue reading

American History 101 with Robert Eggers

A shirtless white man with long brown hair stands in the center of a farm pen holding an axe above a piece of wood.

|Ben Tuthill| For a country obsessed with our colonial heritage, we’re astonishingly bad at making movies about it. Once upon a time, we put out a French and Indian War movie every other year. The practice fell out around the time of the Bicentennial, and since then … Continue reading

Satan’s Ghastly Abacus: Thoughts on Two Burnings by Carl Theodor Dreyer

Close-up of Marte's Herlof unclothed and in tears.

|Sophie Durbin| Humans have burned each other at the stake for a long time. Records dating back to the Code of Hammurabi prescribe death by burning for criminals convicted of incest or heresy. The Celts may have roasted their human sacrifices… Continue reading

Before Dawn: George A. Romero’s Years at Sea

A woman lays on the ground in the front of a house. A man stands with his hands on his hips in the doorframe.

|Doug Carmody| Season of the Witch  plays in glorious 35mm at the Trylon Cinema on Wednesday, September 30, one night only. For tickets, showtimes, and other series information, visit trylon.org. The 1970s found George Romero in a peculiar place—Pittsburgh, not Hollywood. Despite his debut’s eventually colossal impact on horror cinema and eventually massive box office… Continue reading

Must Be the Season of the Witch, Yeah!

The female protagonist wearing a green and blue dress from the 1970s, meets eye to eye with an expressionless and elderly version of herself.

|Benjamin Jarman| was watching the TV show Agatha All Along, about a group of witches in the Marvel Cinematic Universe. By this point, my mind had been trained to expect Donovan’s 1966 hit single, “Season of the Witch,” to start whenever I watch… Continue reading

Omnes Eodem Cogimur: Christ Stopped at Eboli and Life Under Fascism

a white man with dark brown hair standing on a balcony saluting with one arm forward while a crowd of people looks up at him

|Courtney Kowalke| For the past year, I’ve had Umberto Eco’s essay “Ur-Fascism” open in a tab in Firefox on my phone. Going about my daily life the way I did prior to 2025 has me feeling wrong-footed. I feel like a foreigner on earth, like the world… Continue reading

Anthony Perkins Runs Away From “Mother”

Anthony Perkins as Norman Bates sits in the Bates Mansion in a chair, leaning forward with his hands covering his mouth. “Mother” lays across the screen, her grey hair lit in a silhouette.

| Wil McMillen | It’s astonishing to realize now, but Anthony Perkins wasn’t even nominated for Best Actor for his role as Norman Bates in Alfred Hitchcock’s cultural earthquake Psycho. Horror films rarely get the attention they deserve, but one would expect… Continue reading

Cooley High Harmonies

Cooley High title in stylized yellow font over an aerial shot of downtown Chicago.

| Matthew Tchepikova-Treon | Her hands were on my shoulders, perhaps even clasped lightly behind my neck. I can’t remember for sure, all those middle school dances, so uneventful yet monumental at the same time. The sense memories slowly slip out of focus over the years… Continue reading

The Silver Tongued Devil’s Last Ride

Kris Kristofferson casually performs the song "I'd Rather Be Sorry" on an acoustic guitar with Karen Black inside his apartment home studio.

| Matthew Tchepikova-Treon | Have you ever been hungover in church? That particular feeling is what Kris Kristofferson’s album The Silver Tongued Devil and I sounds like. Or it’s how I’d describe it anyway. Sweat, salvation, and self-loathing, but in a fun sorta way. Because by Sunday night you again remember… Continue reading

More “Fuckin A!” Moments in Action Movie Music (A Bio-Mechanical Examination of the AMS-80)

Illustration of a DX9 synthesizer against a laser-like blast of yellow, purple, and orange light.

|Matthew Tchepikova-Treon| For the inaugural 1980s Action Extravaganza, three years ago now, I wrote an ode to a few particular moments from action movie soundtracks that, by sheer musical force, can compel moviegoers to exclaim aloud, “Fuckin A!” This year, inspired by… Continue reading

Testament: Motherhood & the Bomb in 1980s Suburbia

An old television set’s screen is black, with the word “ALERT” going across it in big white capital letters. To the left and running behind it is the bottom of a white window sill with white curtains with daylight behind them. Below this, to the slide and slightly in front of the corner of the TV is a record player, the other half of which is cut off by the frame.

|Penny Folger| Bleak Week, which began at the American Cinematheque in 2022, partially as an ironic response to the pandemic, has now spread globally and is making its triumphant return to Trylon Cinema. This time with Testament, the story of a family in a small town on the outskirts of San Francisco in the aftermath of… Continue reading

The Apocalyptic Subjectivity of Come and See

Boy leaning against dead cow in foggy field.

|Jackson Stern| To call a film totally immersive is to imply that there isn’t almost always some sort of invisible barrier between the viewer and the images projected on the screen. Something happens in the space between the light’s reflection and the eyes of its observer that dilutes perception to the point where even the most painfully… Continue reading

Kinuyo Tanaka, Oharu, and the Written Women of Mizoguchi

Oharu (Kinuyo Tanaka) laying with a somber look on her face.

|Dan Howard| Just two years before her death, Kinuyo Tanaka gave an interview for the 1975 documentary Kenji Mizoguchi: The Life of a Film Director. It was during this interview that Kaneto Shindō, the director, inquired about the rumor that Mizoguchi was secretly in love with her and never confessed his feelings. Tanaka, while flattered… Continue reading

Party at the Czech Death Temple, 1969 

High angle black and white shot of a family of four outside in a park. The father and the mother are looking directly into the camera, their children (son and daughter) are looking down. They are dressed in fine clothing, suits and blazers, and there is a gated off bush behind them.

|Finn Odum| It’s 10:30 p.m. on a Tuesday.  The lights in your apartment are dimmed. There’s a migraine kicking in, and your insomnia is fighting the sedative in your medication just long enough to keep you conscious. You’re aching for the sweet release of death sleep—but you know that if you try to lay down… Continue reading

The Tribe: Nothing New Under the (Bleak) Sun

Film Poster for The Tribe, showing a stack of overlapping transparent B/W images of one young man, one young woman, and multiple hands making signs. All images aggregate in the middle, where the film's title appears, subtitled with "Love and Hate need no translation."

|Olga Tchepikova-Treon| As far as I’m concerned, every week at the cinema should be Bleak Week. Well, not every week, but let’s say maybe 40 out of 52 weeks of the year could easily be Bleak Week, and it would be wonderful, cathartic, exhilarating, moving, and maybe even sublime. I like Bleak Week, and bleak movies in general, for mostly… Continue reading

Zodiac: A Meditation on Obsession as Addiction

Graysmith (Gyllenhaal) and Avery (Downey Jr.) sit at a desk in the San Francisco Chronicle's bullpen in Fincher's Zodiac.

|Allison Vincent| I love both David Fincher movies and movies about tracking and apprehending serial killers. I also love a good true crime doc. My Netflix recently watched is filled to the brim with multi-episode rundowns of both the most well-known offenders as well as the bizarre… Continue reading

The Transformative Power of Girl on Top: Death, Sex, and Agency in The Terminator

Sarah Connor and Kyle Reese have an intimate conversation in the Tiki Motel

|Chelli Riddiough| The Terminator isn’t a very horny film, unless you’re into feathered mullets and homicidal Austrians. But inside this ‘80s action thriller lives a love story, and not one, but two, very weird sex scenes. That’s enough to catapult it into a genre I call “cyberspunk.” When The Terminator begins, our protagonist… Continue reading

Shark Cents: Deep Blue Sea’s Place in the Value of Warner Bros. Discovery

|Ben Jarman| Memories of Deep Blue Sea’s initial release still stick with me even though I never went to see it. I remember the smart shark gimmick and Samuel L. Jackson yelling, “Just what the hell did you do to those sharks!” in the trailer. I also remember… Continue reading

“I’m Mad As Hell!”Network And The Profits Of Rage

Peter Finch as Howard Beale standing in front of a bank of clocks, sweaty and angry, his hands in the air, yelling.

|Wil McMillen| Network plays in at the Trylon Cinema from Friday, March 27th, through Sunday, March 29th. For tickets, showtimes, and other series information, visit trylon.org. My first day as a national news photographer was December 19, 1998, one of the most important and crazy days that nobody ever talks about…. Continue reading

Toward a Cinema of Noise: Demonlover (2002)

Diane (Connie Nielsen), a woman with short brown hair, reclines on a couch and looks at the viewfinder of a digital camcorder. Her mouth is slightly open in an inscrutable expression of engrossment. She holds a cigarette between her fingers.

|Natalie Marlin| Noise was roiling in Olivier Assayas’s blood as the 20th century neared a close. At the end of his 1996 film Irma Vep, the director of the film-within-a-film has disavowed his initial attempt at a conventional filmmaking style. The star has left the picture. The narrative is… Continue reading

They Live in the Twin Cities

John Nada (Roddy Piper), a white adult man with a dark blonde mullet hair cut, wearing a plaid short, is looking up from his dark sunglasses. He is standing in front of a news stand.

|Lucas Vonasek| John Carpenter’s They Live (1988) begins bleakly. Train horns moan as they clatter along the rails, surveillance helicopters chop through the air above in staccato, and smog drapes a city dominated by monolithic buildings clad with corporate logos. These structures… Continue reading

The Badlands of Downtown LA

Emilio Estevez’s character “Otto” takes a stroll through the chaotic nightmare of Downtown Los Angeles”

|Brogan Earney| If you’re like me and you grew up in Minnesota in the 90s or early 2000s, then we can all agree that Gordon Bombay was the shit. I first saw the Mighty Ducks films when I was 6 years old, and I quickly latched onto the character and looked up to his methodology, and I wasn’t even a hockey player. Over time, I realized that… Continue reading

The Tragedies Play Well: Akira Kurosawa’s Three-Time Love Affair with Shakespeare

A petrified Shirai (Kō Nishimura) holding his briefcase with Nishi (Toshiro Mifune) observing from his desk.

|Dan Howard| Before anything was “Lynchian,” “Altmanesque,” or “Kafkaesque,” it was “Shakespearean.” For the last four centuries, William Shakespeare’s deep-seated insight into the emotion and moral complexity of the human experience continues to enthrall audiences to this very day. Every actor… Continue reading

Shout Out to Ellen Ripley: How Regular Heroes Inspire Us in Our Darkest Times

Ellen Ripley stands holding Jones the cat against the backdrop of spaceship mechanicals.

|Allison Vincent| When I initially pitched this idea for Alien to Perisphere, I intended to write a snarky, humor-laden essay about the trope of smart women who are ignored in horror/sci-fi films until the very loud, usually mustachioed men who did the ignoring succumb to their dumb, … Continue reading

A Lengthy and Mundane Explanation of the Fashion Hierarchy of Men in Brazil’s Well-Oiled Government Machine and Absolutely, Positively, 100% Nothing Else

A group of six looming, smirking white men in light grey, pinstripe suits looking into camera. The central man is agape in frustrated anguish.

|Zach Staads| If you really want to make a statement, affect some real change and be an upstanding, ambitious member of the bureaucratic body that keeps the lights on*—you should know the importance of bureau fashion and the importance it plays in… Continue reading