The Flesh Itself (A Própria Carne) UK première at FrightFest, 29th and 31st August 2026 The text that opens Ian SBF’s The Flesh Itself (A Própria Carne) situates its events within a historical reality: the War of the Triple Alliance in which, between 1864 and 1870, Brazil, Argentina and Uruguay massacred much of Paraguay’s population….
White Guilt first published by Dirty Movies, for its world première at Raindance 2025 A group of eleven young white millennials, all strangers, travel together on a coach, their eerie silence strictly enforced by Adam (David Ajayi), a black man sitting at the front in dark glasses and military fatigues. One of the travellers, Timothy…
The opening sequence of Jeremiah Kipp’s The Geechee Witch: A Boo Hag Story comes heavily overdetermined. In the Georgia Sea Islands, a young black man (Duane Cooper), returned from war and still wearing his dog tags, finds his sexual overtures to his wife (Danielle Cathcart) interrupted by the crying of their baby son. Later that…
Good Madam (Mlungu Wam) had its UK première at Glasgow Film Festival 2022 “So we should just pretend not to be here even though we are?”, says young Winnie (Kamvalethu Jonas Reziya) to her mother Tsidi (Chumisa Cosa) in Jenna Cato Bass’s Good Madam (Mlungu Wam), summarising the rules of their new home. After the…
Candyman first published by Little White Lies, as entry 68 in my Cinema Psychotronicum column Graduate student Helen (Virginia Madsen) and her colleague Bernadette Walsh (Kasi Lemmons) are recording younger undergraduates tell macabre, can’t-really-be-true stories that happened to a friend of a friend, for a study on urban myths. The first such myth that Helen…