rural

We Are What We Are (REVIEW)

A woman carefully navigates a torrential downpour as she pulls into the kind of hardware store in a kind of town where everyone has known everyone for most of their lives. It’s also the kind of hardware store that specializes in game meat processing for extra flavor. She procures a flashlight, a length of rope, a metal pipe and other materials that would perhaps raise a few eyebrows should this kindly appearing woman be a grizzly transient. But the woman doesn’t appear well. Her hands shake and raspy, blood-splattering coughs rattle from her throat.

Bedevilled (REVIEW)

Rape-Revenge films are perhaps the most polarizing of genre movies. The aggressive voyeuristic nature in which most of these films marvel in both extended victimization and shockingly rendered vengeance are a distillation of some rather sticky ideological obstacles inherent in creating a narrative visually and aurally. And let’s not forget with the intent of making money. They are at once exploitative and yet not without (sometimes) greater purpose in mind. What is also fascinating about these stories is their diffusion across various levels of taste and medium.

Dead Weight (REVIEW)

A group of haggard looking nomads shuffle across a half frozen field as grey snow spits out of the overcast sky. Makeshift winter clothes barely conceal the frigid exterior as their breath steams from their panting mouths. Their packs sag with wear and tear rather than from the dearth of survival gear. Each step proves more laborious than the next as they trek across what was once a vibrant, safe country. In the distance they spy an isolated, seemingly abandoned farmhouse and barn. Should they approach? Maybe there is food? Weapons? Supplies? Or worse?

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