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Tag: Jess Varley

20 Best Horror Movies From Women This Year

As we head into spooky season, here’s a guide to a wide variety of new horror films from female filmmakers to get your skin crawling. With such a rich crop of startlingly original titles from filmmakers with bold visions and unique points of view, there’s bound to be something for everyone’s particular penchant. Whether you’re looking for mind-blowing body horror, creatures like vampires, witches or ghosts, or just good old fashioned blood, guts and gore – something wicked awaits you.

Bingo Hell – directed by Gigi Saul Guerrero

Adriana Barraza in ‘Bingo Hell’

The fifth installment in the anthology Welcome To The Blumhouse, Gigi Saul Guerrero’s film stars Oscar-nominated actress Adriana Barraza as Lupita, the lynchpin of a group of elderly persons living in the slowly gentrifying enclave known as Oak Springs. When the owner of the community center mysteriously disappears and the bingo hall is taken over by a huckster named Mr. Big (a wonderfully slimy Richard Brake) promising suspiciously big payouts, Lupita rallies the group to fight back. Filmed in New Orleans, Guerrero’s gruesome, wry film is perfect for fans of ‘The Outer Limits.’
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Black as Night – directed by Maritte Lee Go

Asjha Cooper, Frabrizio Guido and Mason Beauchamp in ‘Black As Night’

Written by Sherman Payne, Maritte Lee Go’s addition to Welcome To The Blumhouse follows awkward teenager Shawna (Asjha Cooper) as she tackles body issues and battles vampires over one fateful summer. When her mother falls victim to a gang of vampires preying on the most vulnerable residents of New Orleans – drug addicts and the unhoused struggling after Hurricane Katrina – Shawna vows to not only avenge her death, but put an end to their bloody reign in the Big Easy forever.
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The Blazing World – directed by Carlson Young

Zena Grey, Erika Cimino, Carlson Young, Brianne Tju and Alice Carroll Johnson in ‘The Blazing World’

Loosely inspired by Margaret Cavendish’s 1666 satirical, proto-science fiction of the same name, Carlson Young’s fantasy horror-thriller had its world premiere at the 2021 Sundance Film Festival. Young stars as Margaret Winter, a self-destructive young woman still reeling from her twin sister’s accidental drowning, who returns home only to find herself in an alternate dreamlike dimension where her sister may still be alive. Udo Kier, Dermot Mulroney, Vinessa Shaw round out the film’s impressive cast.
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Bloodthirsty – directed by Amelia Moses

Lauren Beatty in ‘Bloodthirsty’

Co-written by mother-daughter team Wendy Hill-Tout and Lowell Boland, follows indie musician Grey Kessler (Lauren Beatty) as she battles her anxiety while working on her sophomore album. When mysterious producer Vaughn (Greg Bryk) offers his mansion and services, Grey is elated. However as his abusive process pushes her into the darker recesses of her psyche, she finds herself transforming in more ways than one. Shot on location in Edmonton, Alberta, Canada, the result is a unique, transfixing, and gore-filled twist on the werewolf genre.
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Candyman – directed by Nia DaCosta

Yahya Abdul-Mateen II in ‘Candyman’

Co-written with Win Rosenfeld and producer Jordan Peele, Nia DaCosta’s entry into the Candyman franchise, first adapted from by Clive Barker’s “The Forbidden” in 1992 by Bernard Rose, picks the story back up twenty-seven years after the events of the first film. Chicago-based visual artist Anthony McCoy (Yahya Abdul-Mateen II) finds himself drawn to the urban myth of Candyman and the Cabrini-Green housing project. Little does he know his connection to the lore runs deeper than just the power of artistic inspiration. Although critical reception was split, after its initial release DaCosta became the first American Black woman director with a number one at the box office.
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Censor – directed by Prano Bailey-Bond

Niamh Algar in ‘Censor’

Set at the height of the Video Nasty controversy in the early 1980s England, Enid Baines (Niamh Algar) works as a censor for the British Board of Film Classification. Years early Enid’s sister went missing and is presumed dead, but when Enid discovers an old exploitation film that parallels the events of her sister’s disappearance, she becomes obsessed with finding the woman she believes may be her long lost sister. Shot on a mixture of 35mm, Super8 and VHS, Bailey-Bond’s film is a visceral and disquieting debut.
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Fear Street Trilogy – directed by Leigh Janiak

Ted Sutherland and Sadie Sink in ‘Fear Street’

Set in 1994, 1978, and 1666 respectively, the trilogy relates the twisted relationship between the communities of Shadyside and Sunnyvale as it unpacks the curse of Sarah Fier, a witch who was burned at the stake. Inspired by the iconic book series by R. L. Stine, director Leigh Janiak infuses a fresh new point of view by centering the films on a queer love story, while mainting plenty of gore.
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Knackningar (Knocking) – directed by Frida Kempff

Cecilia Milocco in ‘Knackningar (Knocking)’

Directed by Frida Kempff and written by Emma Broström, the film stars Cecilia Milocco as a woman named Molly who is recovering from a nervous breakdown after experiencing an extreme loss. After checking out of a psychiatric ward and moving into a new apartment complex, she begins hearing mysterious knocking sounds. Paranoia sets in when no one in the mysterious complex believes her.
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Lucky – directed by Natasha Kermani

Brea Grant in ‘Lucky’

The life of self-help author May (Brea Grant) spirals out of control when she finds herself battling a mysterious faceless assailant night after night. When no one seems to notice or care, she is pushed to her physical and psychological limits as she attempts to rid him from her life for good. Kermani and writer-star Grant’s incisive look at the terror of just being a woman in this world will linger in your mind long after its flashy finale.
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The Manor – directed by Axelle Carolyn

Barbara Hershey in ‘The Manor’

Also part of Welcome To The Blumhouse, writer-director Axelle Carolyn’s gothic thriller stars Barbara Hershey as Judith Albright, a woman who moves to Golden Sun Manor assisted living after suffering a mild stroke. While fighting for her agency, she begins to believe there is a sinister presence haunting the residents of the manor. Teaming up with fellow resident Roland (Bruce Davison), the two attempt to escape their confines rather than succumb to the evil forces surrounding them.
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Martyrs Lane – directed by Ruth Platt

Kiera Thompson in ‘Martyr’s Lane’

While living in a remote vicarage with her parents and surly older sister, 10-year-old Leah (Kiera Thompson) meets a strange girl in tattered angel wings while playing in the woods. Each time the girl visits Leah finds new clues to an old mystery that may cause her family’s fraught dynamics to unravel completely. Although she doesn’t quite stick the landing, with this film writer-director Ruth Platt offers a unique twist on the ghost story genre.
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Phobias – directed by Camilla Belle, Joe Sill, Jess Varley, Chris von Hoffmann, and Maritte Lee Go

Martina García in ‘Phobias’

In this anthology film each director brings a unique phobia to graphic life. Using a frame narrative to connect the five entries, their stories cross paths at a government testing facility where a crazed doctor attempts to weaponize fear. Watch out for a chilling performance from Macy Gray.
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The Power – directed by Corinna Faith

Rose Williams in ‘The Power’

Set during power outages caused by a miners’ strike in early 1970s London, the film centers around Val (Rose Williams), a nurse in training. Spending her first night working in the East London Royal Infirmary in near total darkness, she begins to suspect there is something sinister lurking in the walls.
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Saint Maud – directed by Rose Glass

Jennifer Ehle in ‘Saint Maud’

After a critically praised debut at the Toronto International Film Festival in 2019, writer-director Rose Glass’s psychological horror debut finally hit stateside earlier this year. Having recently converted to Roman Catholicism, hospice nurse Maud forms an unhealthy obsession with a former dancer in her care (Jennifer Ehle). Featuring a shocking finale, Oscar-winner Danny Boyle is among the film’s most ardent supporters, calling it “genuinely unsettling.”
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Slaxx – directed by Elza Kephart

Romane Denis in ‘Slaxx’

In this horror-comedy, co-written with Patricia Gomez, writer-director Elza Kephart tackles the real life horrors caused by fast fashion. As a possessed pair of jeans goes on a killing spree inside a hip boutique overnight, new hire Libby McClean (Romane Denis) fights to escape the denim demon.
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The Stylist – directed by Jill Gevargizian

Najarra Townsend in ‘The Stylist’

One day a lonely hair stylist (Najarra Townsend) who works from home snaps and kills a client (Brea Grant), leading her down a path of continued bloodlust that changes her life forever. Praised for its sharp comedy and stylish kills, Gevargizian’s film is a welcome entry into the slasher canon.
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Titane – directed by Julia Ducournau

Agathe Rousselle in ‘Titane,’ directed by Julia Ducournau

In this Cannes Palme d’Or-winning flick Alexia, a showgirl (Agathe Rousselle) at a motorshow with a titanium plate implanted in her head from a childhood crash, gets impregnated by a Cadillac and goes on a serial killing spree. On the run from the cops, she impersonates the long lost son of a fire chief named Vincent (Vincent Lindon). Equally as tender as it is disgusting, Ducournau is the reigning queen of body horror with heart.
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Things Heard & Seen – directed by Shari Springer Berman and Robert Pulcini

Amanda Seyfried in ‘Things Heard & Seen’

Based on the novel “All Things Cease to Appear” by Elizabeth Brundage, Berman and Pulcini use the philosophies and mysticism of Swedish pluralistic-Christian theologian and scientist Emanuel Swedenborg to put a new spin on the ghost story genre, while also exploring the dynamics of a fatally toxic marriage. The impressive cast includes Amanda Seyfried as Catherine, James Norton, Natalia Dyer, Karen Allen, and F. Murray Abraham.
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Violation – directed by Madeleine Sims-Fewer and Dusty Mancinelli

Madeleine Sims-Fewer in ‘Violation’

Playing both the 2020 Toronto International Film Festival and the 2021 Sundance Film Festival, this Canadian horror-drama follows Miriam (Madeleine Sims-Fewer), a traumatized woman on the edge of divorce who returns home for the first time in years. After her estranged sister and brother-in-law betray her trust, she seeks revenge in a most deranged and vicious manner. Praised for its rage and intensity, Sims-Fewer and Mancinelli’s film is a bold take on the revenge genre.
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Witch Hunt – directed by Elle Callahan

A sink test scene in ‘Witch Hunt’

Set in a version of contemporary America where witches are real and witchcraft is illegal, a teenage girl (Gideon Adlon) faces her own prejudices as her mom (Elizabeth Mitchell) begins offering assistance to the orphaned children of witches seeking asylum in Mexico. While the metaphor isn’t always in the best taste, Callahan’s film continues the tradition of using the witch genre as a mode to express cultural criticism.
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October 11, 2021
Female Filmmakers in Focus: ‘Phobias’ directors Camilla Belle, Maritte Lee Go, & Jess Varley

Welcome to Female Filmmakers in Focus, where you will find a recommendation for films directed by women to seek out each week. This week features the horror anthology film ‘Phobias,’ plus an interview with three of the film’s directors: Jess Varley, Maritte Lee Go, Camilla Belle.

Phobias (2021) – directed by Camilla Belle, Maritte Lee Go, Joe Sill, Chris von Hoffmann, and Jess Varley

(L to R) Camilla Belle, Maritte Lee Go, & Jess Varley, three of the directors of ‘Phobias’

Have you ever heard of the fear of weapons? Or the fear of imperfection? Or the fear of driving? Well, after finishing the new horror anthology you’ll know all about those fears and more. Each phobia is directed by one director, tied together with a frame story about a crazed government official who is trying to weaponize their fears. Some segments of ‘Phobias’ tackle timely subjects like anti-Asian sentiment, immigration raids, and PTSD, while others explore more typical horror subjects like home invasions, hauntings, and murder. The diverse cast is filled with character actors like Hana Mae Lee (‘Pitch Perfect’), Steve Park (‘Fargo,’ ‘Do The Right Thing’), Rushi Kota (‘Grey’s Anatomy), and Macy Gray (‘The Paperboy’) who are given roles that really show their range. Each filmmaker used a lot of the same crew, so there is a visual cohesion to the film, with the frame narrative setting it firmly in schlock B-film territory (this is a good thing). At turns terrifying, insightful, and mordantly funny, ‘Phobias’ should be a blast for fans of the genre.
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Read on for our interview with the directors of three of the five segments in the ‘Phobias’

Jess Varley attended NYU’s Tisch School of the Arts and has worked as writer-director-producer-actress for over a decade. Maritte Lee Go attended USC and has directed and produced over a dozen short films. Camilla Belle started her career as an actress making her feature film debut in Alfonso Cuarón’s ‘A Little Princess.’ This is Belle’s first credit as a director.

Moviefone: How did you each get involved in the project?

Jess Varley: After talking to [production company] Radio Silence (‘Ready or Not’, ‘V/H/S’) about doing an anthology movie and possibly centering it around phobias. Maritte and I had already worked together, and she produced a short film of mine. She’s just always been an incredible filmmaker and champion that I’ve looked to, so she was an obvious choice. As were Chris (von Hoffmann) and Joe (Sill). We very fortunately got linked up with Camilla (Belle) and were just so excited to have her on board being a huge fan of her work for so many years. I was thrilled to collect all of my favorite people and get to learn from all of them throughout the process.

Maritte Lee Go: I’ve been producing with Eric B. Fleischman for many years. We went to USC together. We put a list of ideas out there and phobias is the one that stuck. Radio Silence was on board. After that we were writing our individual ideas and got into production.

Camilla Belle: From my end, like Jess had said, I was the newbie to this crew. I came in later, but everyone was extremely welcoming. At that point everyone had already picked their phobias and I think everyone’s scripts were almost done at that point. I had to rush my process a bit to get it done on time with everyone else. Everyone was very positive and welcoming.

MF: How did you choose your phobia?

JV: Especially I think for Maritte, Camilla and I, our segments are definitely real reflections of real phobias that we have. My segment is Atelophobia, which is the fear of imperfection. So I tried to explore the darker sides of perfectionism and body image stuff that so many people can relate to. When I was first embarking I was hoping it was not too personal just to me. I always find that if it’s something that you’re really passionate about, and that you really believe in, it’s amazing to see that translate to audience members and other people. There’s always going to be nuggets in there that people can relate to.

MLG: For mine, this was based on something I experienced one night dropping my ex-boyfriend off at the LAX airport. He left the car and as soon as he did I felt something sitting in my backseat. It was like this really cold air. I felt needles on the back of my neck. I never felt anything like that before, and I was really afraid, and I kept looking back, and I didn’t see anything. So I hopped on the 405 North trying to ignore it. I had a brand-new car and the car started acting on its own. The headlights were flashing. It was speeding up and slowing down. The channels started changing. I was terrified. I was like “Oh my god, get out of my car. Get out of my car, whatever you are.” I thought I was going to die – it was going 60, 70 miles an hour in crazy traffic. Finally, I was able to pull the car over, and I was crying like, “please, please get out of my car.” I finally felt it leave. The presence was not there anymore. I wasn’t cold. I didn’t feel the needles anymore. I left but it totally traumatized me. Every time I get in my car at night I’m constantly checking the back seat. I’m always afraid that something might be there. So that’s what inspired Vehophobia.

CB: With mine, once I settled on this one [Hoplophobia], I wouldn’t say I have a debilitating fear of weapons, or firearms, but I am not a fan to put it lightly. The story developed from the psychological aspects of trauma. That’s what really fascinated me, PTSD and dealing with trauma and how if it goes untreated what it can lead to. I’m always very much drawn to families and family dynamics. The idea of a son not only having the role of a son, but also somewhat being the parent and the caretaker of their parent. That really fascinated me.

MF: What do you hope people come away from your segment feeling?

CB: I think with mine, it’s having compassion for others. We might not know what others are going through. It’s more about coming out of it with some sort of compassion. I think even in discussing the short with people they asked, “What’s going to happen to the son? What’s going to happen to her and what’s his life going to be?” I hope their relationship touches people and that those questions are in their mind and more than anything compassion.

MLG: You can’t bury secrets forever. The dark deeds that you’ve done will come back to you and I believe that everything is seen in the supernatural world and it will come back to you in one way or another.
Jess: My hope is that certainly that anyone experiencing, whether it’s the fear of not being enough or comparing yourself to someone else, or that you are lacking in some way, I just hope that this segment helps people feel less alone.

MF: Can you each recommend one film directed by a woman that you suggest readers should seek out?

JV: I would love to highlight Veronika Franz, who co-directed ‘Goodnight Mommy’ and ‘The Lodge’. ‘Goodnight Mommy’ was a huge inspiration for Atelophobia. It’s got this great twist at the end and also deals with body dysmorphia topics as well. I’m obsessed with this movie. Totally worth a watch.

MLG: One of my favorite, favorite directors is Jane Campion, who did ‘The Piano’ and ‘Top of the Lake.’ I just think she is incredible. She has this way of capturing very grounded performances that feel like you are peeking in on something that is happening. She’s incredible at getting the most vulnerable moments out of actors. There’s no question that these people are living these lives there is so much authenticity in them. I’m a big fan of hers.

CB: I’ve also always been a huge fan of her work, but ‘The Piano’ – my mom and I went to go see it in the theater, and I was really young at the time. I’ll never forget because I think my mom didn’t realize Harvey Keitel was going to be naked with full-frontal nudity. She went to go cover my eyes, and yet I still have the image of Harvey Keitel full-frontal in my mind.

MLG: That’s amazing.

CB: A film I’ve seen more recently, during this awards season, is Brazil’s submission – my mom is from Brazil – so I’m always trying to support the filmmakers there. The director’s name is Bárbara Paz, and she directed a documentary, the first film she directed, about Hector Babenco. It’s called ‘Babenco: Tell Me When I Die.’ He’s one of the most lauded Brazilian filmmakers and was her husband. She depicts his life while he’s dying. It’s an extremely lyrical doc. I haven’t seen one really like that before. It’s so personal because she’s filming her husband’s final days. She didn’t want to make it like a filmography; she wanted to tell the story of him as a man, and for people to know him as an artist and as a husband and partner. He was very inspirational for her in becoming a filmmaker. It’s a very deeply personal doc that was special and heavy, but very special. I want to give her a shout-out.
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March 19, 2021