two girls hug
Posted on December 9, 2022

“Bodies Bodies Bodies” pile up in a trenchant tale of affluent anxiety

Guest Post

Privileged paranoia is rarely as enjoyable as in Halina Reijn’s English language feature film debut – a sharp, sarcastic slasher stabbing away at the elite’s self-obsession and self-loathing. A devastating lack of meaning serves both as the origin and outcome of a hilarious horror that is simultaneously physical, psychological and parodistic. The Danish director’s genre gem cunningly mimics mainstream cinema’s detachment from lower-class reality by zooming in on a prototypical group of upper-class kids. Their hurricane party set in a friend’s mansion is crashed by their estranged friend Sophie (Amandla Stenberg).

The recently recovered addict brings her new girlfriend, eastern European Bee (Maria Bakalova), the only one unfamiliar with the affluent apathy of the spoiled sextette she’s to stay with. Belligerent host David (Pete Davidson), his theatrical girlfriend Emma (Chase Sui Wonders), self-righteous Jordan (Herrold), pretentious podcaster Alice (Rachel Sennott), her older Tinder date Greg (Lee Pace) and Sophie are, as Emma puts it, “rich” or “rich rich.” They scoff at Bee trying to contribute to the expenses by bringing food, spill expensive champagne, toy with antique armor and play the titular game. Read more

Posted on November 28, 2022

Mark Jenkin’s Enys Men: Cornish Folk Horror

Dawn Keetley

In the Director’s Statement in the Press Packet for his new film, Enys Men (2022), Mark Jenkin writes that the film emerged from “images” he had “in my head.” These images arise from the land and the history of Cornwall – from the moors, sea, standing stones, mines and miners, bal maidens (female mine workers), and the men who made their living on the sea. The film didn’t just emerge from these images, however; the film is these images. To describe Enys Men is not to describe a story or a plot – because story and plot demand linear time and conventional causality. Enys Men creates a world structured very differently. And it is, quite simply, one of the most thought-provoking, beautiful, and engrossing films I’ve watched in a long time – and certainly one of the best films of 2022.

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a boy leans against a wall covering his eyes in a hallway with a large portrait hanging overhead
Posted on November 23, 2022

The Return of Halaloween

Guest Post

In October of 2019 I had the good fortune to attend and write about the first iteration of Halaloween, a production of the University of Michigan’s Global Islamic Studies Center. With so many good horror films coming from outside of the US in the last 20 plus years, a film festival providing exposure to horror films produced in the Muslim world had no problem finding an audience.

After the understandable setbacks prompted by Covid, I am happy to have the opportunity to report on the 2022 edition of Halaloween. Here is an overview of this year’s lineup:

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book cover showing a doll with a missing nose
Posted on November 18, 2022

The Bloodcurdling Book Club: Talking Elizabeth Engstrom’s WHEN DARKNESS LOVES US

Podcast

Elizabeth Engstrom’s WHEN DARKNESS LOVES US has been called everything from dark and soul crushing to a “paperback from hell” but we call it one of the finest literary explorations of trauma in recent memory. In this episode, we discuss what makes a monster, how trauma gets replicated, and what it means when monstrosity cloaks itself as maternal indifference. On this podcast we talk blood, guts, and spoilers so listener discretion is advised.

You can order Engstrom’s novel from Valancourt’s Paperbacks from Hell site.

Listen now!

decorative image of a collection of book covers
Posted on November 17, 2022

Call for Papers – Special Issue #8: Horror Literature

Call for Papers

Our featured image, which includes Grady Hendrix and Will Errickson’s popular Paperbacks from Hell series, evidences  horror literature’s resurgence in recent years. There has been not only a reclaiming and reissuing of critically dismissed titles of the past but also a proliferation of new and diverse horror fictions. Whether disdained as pulpy trash or ignored for appealing to youth demographics, a large swathe of pre-2000s horror literature has frequently been deemed unworthy of critical analysis. But with developments that include Paperbacks from Hell, Valancourt Books’ new translations of horror novels, increasing numbers of film adaptations of horror youth literature, and decreasing rigidity between what constitutes high and low culture, titles that have long skirted the horror literature canon are increasingly being taken seriously as cultural documents speaking to societal norms and taboos as well as significant artistic works in their own right.

For this special issue on horror fiction, we invite submissions that critically reassess historically disregarded horror literature titles or that take up the works of new horror writers. We want to distinguish horror fiction from its more highbrow cousin, the gothic – and we are interested in horror. We do welcome, though, essays that self-consciously take up the critical difference between horror and the gothic.

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