Restoration as Worship: The Everlasting Terror of Ken Russell’s The Devils

A close-up of Vanessa Redgrave as Sister Jeanne des Anges in full 17th-century Catholic nun garb: stark white linen surrounds her pale face and neckline with a deep black exterior that sits atop as she gazes into the distance with her head bent at a strange, almost inhuman angle. Blurred in the background is the white brick sanctuary she and her fellow sisters are held in like a prison, her similarly "possessed" colleagues lined up neatly and acutely around her and an altar.

|Chris Polley| When I was transfixed watching Michaela Coel restore an ancient, priceless painting in Steven Soderbergh’s The Christophers earlier this year, I found myself strangely moved. It was cold and calculating but also incredibly caring and artful. I thought of this scene again when I heard that BBC critic Mark Kermode and… Continue reading

Ken Russell’s The Devils: Cinema at the Mercy of the Censors

Sister Jeanne (Vanessa Redgrave), center, surrounded by her fellow nuns.

|Dan Howard| Over the last few decades, The Devils is a film that, ironically, is considered the ultimate holy grails for film buffs. One that audiences will snag any opportunity they can to watch even the most butchered version of, bootleg or otherwise. The first time I saw The Devils was in… 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

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

From Sundance to Box Office Gold: The Story of The Blair Witch Project

The iconic close up confessional of the doomed filmmaker

|Kevin Maher| The pitch for The Blair Witch Project, the 1999 summer box office phenomenon and viral marketing sensation, is as simple as the finished movie actually turned out to be. “Student filmmakers go into the woods to make a documentary, disappear, and their footage is found,” certainly relays the basic tenants of the story… Continue reading

Horror without Borders: My Blair Witch Project

A dilapidated cabin stands alone in the woods.

|Chris Ryba-Tures| Somewhere between Planet Hollywood and Hooters, on the top floor of the Mall of America, I was stopped dead in my tracks. It was 1998. I was seventeen, sporting a bleach-blonde Eminem haircut, a brand-new Marilyn Manson “Antichrist Superstar” ringer tee from Hot Topic, and black leather 8-hole Doc Marten’s that were finally getting that perfect mosh pit scuff… Continue reading