Crime & Mystery
Although primarily a horror film, ‘American Psycho’ has a satiric backbone that appropriates codes from the romantic comedy genre to expose the absurdities of our gender ideals. Director and co-writer Mary Harron’s lens skewers the qualities we find appealing in romantic comedies as terrifying.
The notion of Catherine as a subversive anti-hero develops when you view the film not as a story about the supposed protagonist Detective Nick Curran but as Catherine’s journey from mind games to almost domestic bliss but always returning to her basic instincts which threatens the Hollywood happy ending of established heteronormativity.
‘Arrival’ is yet another in a long line of alien invasion movies, but it’s also so much more than that. It’s the story of a single extraordinary woman who steps up to save the human race, armed with nothing more than her ability to communicate. It’s a story of hope — and it’s one that audiences need to hear right now.
How did these male filmmakers make a movie marketed to men full of female characters who actually get the majority of the dialogue? I’m about to crack the code and share the secret — are you ready to become enlightened? Here’s how they did it: They included female characters and gave them lines. WHAT. Yes, it’s that simple.
By forcing the subconscious fears of audiences to the surface, horror cinema evokes reactions psychologically and physically — that is its power. This power can serve and support uncensored Indigenous expression by allowing Indigenous filmmakers the opportunity to unleash dark, unsanitized allegorical representations of the abhorrent, repugnant, violent abomination that is colonization.
Recognizing the witch hunts dotted throughout the U.S.’s early history as a feminist issue, Robert Eggers smartly constructs his film to be a power struggle between the two main female characters, each representing a different conception of femininity. … By rejecting motherhood, the witches reject their feminine role in the patriarchal Puritan society.
Are spine-chilling films always in demand because they help us dialogue with and about death? … In the past year, I’ve been focused on seeing films directed by women because I participated in the “52 Films by Women” initiative.
As frustrating as our erasure and stereotyping is, however, I’d like to go beyond the question of “good” and “bad” representations of bisexual characters to ask this: exactly what it is about bisexuality which makes it so hard to represent on-screen? And why, when bisexuality is visible, is it so likely to collapse back into dominant stereotypes of bisexuality as either promiscuous or merely a phase?
She is a victor, a fighter, and a survivor. Shaw is a queer, neurodivergent, woman of color, and she was allowed to be all of these things without ever being judged or punished for them. Though ‘Person of Interest’ never used the label, and Shaw herself is not likely to ever use such labels, she is unmistakably a bisexual character, and her status as such is treated by the narrative with matter-of-factness, but also with respect and compassion.
The film is extremely biphobic and includes many of the most negative stereotypes about bisexuality, particularly in terms of bisexual women… ‘Basic Instinct’ manages to have not one but three queer women characters, including two canonically bisexual ones, and they all are written as stereotypes.
Both films, then, arguably fit a wider cultural pattern of bi erasure, suggesting that bisexual characters must “resolve” themselves as either gay or straight. I would argue, however, that what marks ‘I Love You Phillip Morris’ and ‘Kissing Jessica Stein’ as something more nuanced and interesting than another tale of “inauthentic” bisexuality, is the subtlety with which they examine all sexual orientations as limited by our internalized need to socially perform.
There are a number of films — frequently defined as “erotic thrillers” — which feature bisexual women who are violent, manipulative, and even murderous. … The trope of the promiscuous, aggressive, violent, and unstable bisexual woman is one that truly needs to disappear. Even if directors do not intend any harm to queer people or communities, these inaccurate portrayals lead movie-goers to believe that bisexuality is something dangerous, to be feared.