Jez and I have been doing the media rounds for our book on SECONDS. The fruits of our labour include this piece that we wrote for the excellent publication, Diabolique Magazine, featuring an interview with the divine Miss Salome Jens that was conducted specifically for the SECONDS book.
She also talks about her noteworthy screen debut in ANGEL BABY (1961, additionally Burt Reynolds’ debut), which is quite the film, if you’re not familiar with it.
I encourage you to read on, and appreciate the mastery of an actor who has never really been appreciated for the full extent of her talents.
I was blessed to be asked by Indicator to write this booklet essay on the Freddie-Francis-directed NIGHTMARE (1964) for their glorious four-disc release called Hammer Volume 6: Night Shadows, also containing THE SHADOW OF THE CAT (1961), CAPTAIN CLEGG (1962) and THE PHANTOM OF THE OPERA (1962).
I’ve done my best to capture the artwork in the two photos below for what can only be described as a breathtaking boxset. Let’s just say, this is an edition that is sure to make an impression in any DVD collection.
Thank you to Kier-La Janisse for providing the inspiration behind this piece.
I’m tripping over myself with new blu-ray releases at the moment, so my tardiness in promoting Second Sight’s sigh-worthy release of LAKE MUNGO is due to nothing but giving it some room to breathe.
The featured artwork should be enough to encourage you to see this mesmeric Australian story of ghosts and grief but, if not, I encourage you to do a quick scoot around the internet and you’ll hear from others who have been wrapped in its magic.
Alexandra Heller-Nicholas and I had a lot to say in our audio commentary on this release of LAKE MUNGO. But we’re not the only ones.
This limited edition boxset brings together diverse voices to talk about a feature that will only be more and more appreciated with the passing of time until it is eventually regarded as a classic.
I recently took possession of Arrow Film‘s absolutely gorgeous, limited edition, two-disc, blu-ray release of Jill Gevargizian‘s The Stylist. This is really something special – a jam-packed release, many would say – and I’m honoured to have contributed an essay to the booklet, ‘The Stylist: A curious case of mistaken identity’ and rub shoulders with the likes of my homegirl Alexandra Heller-Nicholas who has contributed with a sumptuous visual essay, ‘The Invisible Woman’.
For any horror fans who have not seen this feature-length version of the 2016 short of the same name, I urge you to rectify the oversight and move The Stylist to the top of your viewing list. I put it on my best films of 2020 and my uncle Ross says that it’s “the best horror film I’ve seen made in recent years.”
“Launching from a 20-minute video essay detailing various components of Jesus Christ Superstar (1973) by Lee Gambin, fellow critics Emma Westwood and Jarret Gahan will discuss works that caused controversy, sometimes sparking protest, as well as the role of the rock opera through a cinematic lens.”
“From religious themed films that prompted outrage such as The Last Temptation of Christ (1988) and Ken Russell’sThe Devils (1971) to Russell’s manic magnificence in his filmic adaptation of The Who’s Tommy (1975), this will be a rollicking panel conversation.”
Want to know more about John Frankenheimer’s criminally overlooked monolith of paranoia, SECONDS (1966)?
SECONDS by Jez Conolly and Emma Westwood, part of the Constellations series of sci-fi cinema books, is available from your favourite book pusher but you can also buy direct from the publisher, Liverpool University Press.
It may be the best film you’ve never seen. So watch now then digest this tasty monograph.
Let me draw your attention to the one from Second Sight, though, because it’s a little bit special.
As well as all the juicy original extras, it’s got a heap of news ones (and beautiful cover art!) including a freshly cooked video essay from Alexandra, a perfect-bound booklet with new essays by Hannah Woodhead and me (Emma Westwood), and a new interview with Julia Ducournau by Lou Thomas.
That’s just a taste (pardon the pun) of what makes this special limited edition extra special. You won’t be disappointed if you decide to add this one to your Blu-ray library.
My viewing of new cinema was somewhat stymied by the events of 2020 so, in creating this list, I’ve gone with a heavenly Top 7 of all-killer-no-filler. Here they are in alphabetical order:
THE ASSISTANT (dir. Kitty Green) Utterly transfixing in its depiction of the mundanity of junior office positions, THE ASSISTANT is also terrifying real in its representation of systematic workplace abuse and neglect – subtle, insidious and that little bit too close to what many women have experienced ‘in real life’ (me included).
DISCLOSURE (documentary, dir. Sam Feder) In fleshing out Hollywood’s representation of transgender people, this documentary is notable for its no-frills approach of talking heads combined with clip & tell. But this approach only serves to accentuate the brilliance of its interviewees. No platitudes here – insights of the highest calibre.
HOST (dir. Rob Savage) I had to be prodded to see this one, and there’s no one more surprised than myself that one of the better horror movies of the year could be about the COVID pandemic. At a tight 57 minutes, HOST serves as an example of why horror is such an important, relevant genre. Now, no more pandemic films, please.
THE LIGHTHOUSE (dir. Robert Eggers) Simultaneously hilarious and a fever dream of the grimiest forms, Robert Eggers proves he’s one of the gnarliest wordsmiths currently in the film biz. Claustrophobic, sweaty, insane. THE LIGHTHOUSE also ticked off another item on my cinematic bucket list: to see Willem Dafoe as a grizzled seaman.
MORGANA (documentary, dirs. Josie Hess & Isabel Peppard) Remarkably intimate and delicately revealing documentary about a middle-aged, Australian woman who overcomes her stultifying suburban existence by creating pornography. A film that has you grabbing at your heart in unexpected ways.
POSSESSOR (dir. Brandon Cronenberg) If there was any wonder whether Brandon Cronenberg was his father’s son, this film definitively demonstrates that the apple doesn’t fall far from the tree. Yet, Brandon has come up with his own stamp of ‘Cronenburgundian’ mindfuckery. For that, he must be applauded.
THE STYLIST (dir. Jill Gevargizian) This film is everything I wanted from Peter Strickland’s IN FABRIC but, sadly, was not served. A horror film steeped in style, as its name would suggest, and one that holds its form from first through to third act. It makes me excited to see what Jill Gevargizian will do next.