Behind the Couch

1815. Ginger and Brigitte Fitzgerald, two orphaned teenaged sisters, seek refuge at an isolated trading fort in the snowy Canadian wilderness. They soon learn that the fort is under siege from werewolves lurking in the surrounding woods. After Ginger (Katharine Isabelle) is attacked and bitten by the lycanthropic son of the fort's factor, she begins to change. Her sister Brigitte (Emily Perkins) seeks a cure while trying to keep them both safe from the men in the fort, whose mistrust of the sisters is stoked by a bloodthirsty, wrathful minister. Directed by Grant Harvey, Ginger Snaps Back is a period piece (no pun intended) and a prequel to Ginger Snaps (2000), the story of a young woman who, on the night she first menstruates, is attacked by a werewolf and begins to transform into a monster. It was followed by  Ginger Snaps Unleashed (2004), which follows the plight of Ginger's sister, Brigitte, as she struggles to find a cure for her own latent lycanthropy. Written by Chr...

Nominated for Best International Short at the International Women in Horror Festival and the Nightmares Film Festival, Childer (an Irish colloquial word for children) is written and directed by Aislínn Clarke ( The Devil’s Doorway , 2018). It tells of Mary (Dorothy Duffy), an introverted single mother, who suspects she and her young son are being stalked by feral children living in the woods surrounding her home. She spends her days obsessively cleaning, trying to maintain order, and preventing her son from playing with the forest-dwelling children. Clarke’s screenplay explores ideas concerning parenthood, obsession, loneliness, and mental illness. The spectre of Shirley Jackson drifts throughout proceedings as domestic, homey spaces become veiled in quiet menace and the seeming innocence of childhood takes on sinister qualities. The beautiful photography by Ryan Kernaghan and art direction by Claire Fox help imbue the story with an eerie fairy tale quality: the little house, neat and ...

Co-written by Irish filmmaker Neil Jordan and British novelist Angela Carter, and based on several short stories from her collection, The Bloody Chamber , The Company of Wolves is a werewolf film quite unlike any other. A provocative reinterpretation of the fairy tale of Red Riding Hood, it unravels as a feverish exploration of a young girl’s sexuality as she crosses the threshold into adulthood. It was Jordan’s second film, and his first foray into the realms of Gothic horror. Entwining metaphor with striking visuals and grisly effects, The Company of Wolves was released in the early Eighties, in the wake of The Howling and An American Werewolf in London ; it set itself apart from the pack, however, with its literary roots, feminist concerns and art-house execution. The folk tales it draws upon and the significance of oral storytelling itself are woven into the very fabric of the film. Its unusual narrative structure, which unfurls like a Chinese puzzle box, begins as a young girl,...

As far removed as imaginable from the candy-coated, technicoloured, ‘somewhere over the rainbow’ Judy Garland-starring classic The Wizard of Oz (1939), Return to Oz , Walter Murch’s belated, somewhat 'unofficial' follow-up, is a beautifully dark, brooding and deeply melancholic work. Indeed, many critics at the time claimed it was too dark and frightening for its young audiences. While it features more of Dorothy’s fantastical adventures in Oz, a host of colourful characters and a plethora of astoundingly realised effects, at the heart of Return to Oz is the story of a courageous and resilient child who has endured hardship and tragedy, and of the weary, ineffectual or cruel adults responsible for her care. It is of course a sort of sequel, but is perhaps more accurately described as an adaptation of several other L. Frank Baum Oz novels that followed on from The Wonderful Wizard of Oz (1900), as Murch and Gill Dennis’s screenplay carefully amalgamates plotlines from The Mar...

When Rose Nemser's (Odessa Young) husband attains a teaching assistant position at Bennington College, Vermont, the couple are invited to stay with Professor Stanley Hyman (Michael Stuhlbarg) and his wife, the infamous mystery and horror author Shirley Jackson (Elizabeth Moss), whose most recent short story 'The Lottery' is causing quite a stir. Before long, tensions mount within the house and Shirley begins work on a new novel about a missing girl...  Adapted by screenwriter Sarah Gubbins from Susan Scarf Merrell’s 2014 novel of the same name, Shirley is an unusual biopic that sidesteps the conventions of the form as it is more inspired by Jackson’s work than her actual life. Merrell’s novel, equal parts dark literary thriller and enthralling love letter to Shirley Jackson and her haunting body of work, is a fictionalised account of a period in Jackson’s life. Like the novel, this adaptation takes as much artistic licence as it perfectly evokes the atmosphere of Jackson’...

Adapted from Shirley Jackson's 1962 Gothic novel of the same name, director Stacie Passon's sophomore feature film tells of the intense relationship between two sisters who, along with their ailing uncle (Crispin Glover), live in a large, lonely house on a vast estate outside a small New England town. Several years prior, the older sister, Constance (Alexandra Daddario), was acquitted of the murder of her parents, by poisoning, and the sisters are shunned by the townspeople. When their estranged cousin Charles (Sebastian Stan) arrives unannounced for a short stay, his prying presence shatters the sisters' claustrophobic little world and threatens to unearth long buried family secrets. Admirers of Jackson's novel, and her literary work in general, will find much to appreciate here. The screenplay by Mark Kruger is a very faithful adaptation, and, true to the source material, its main themes also centre on isolation, familial dysfunction/disintegration and the perse...

Featuring stories by and about women, XX is a potent horror anthology written and directed by Jovanka Vuckovic, Annie Clark, Roxanne Benjamin, Karyn Kusama and Sofia Carrillo. It features four distinctive segments and an interstitial piece, which, amongst other things, explore themes of motherhood, familial dysfunction, loss and social isolation. By their very nature, anthology films can vary greatly in content, style, structure, tone and pacing, particularly ones involving contributions from several filmmakers, and the constant interruption of the narrative flow when we pull back to the framing story can be jarring. When done well though, we get the likes of XX , which unfurls as a macabre collection of unsettling stories that leaves a deeply haunting impression. Written and directed by Jovanka Vuckovic ( The Captured Bird , former editor of Rue Morgue ), and adapted from a short story by Jack Ketchum, The Box is a dark, upsetting tale that delves into parental fears of helpl...

Edited by Paracinema Magazine co-founder and former editor, Christine Makepeace , and C. Rachel Katz , the Women in Horror Annual (WHA) is a collection of horror fiction and nonfiction written by women. The WHA counts as one among a scant handful of women-only anthologies in the horror literature landscape. The annual promotes and celebrates women's voices in horror, and the stories and papers contained within - penned by new and emerging literary talent - represent a diverse group of writers, each with their own unique vision and voice. Some of these writers have published previously, while others are just starting out. Women's voices can be under-represented in horror, and this anthology is another step towards providing them with the opportunity to be heard/read. The nineteen original stories featured in the annual run the gamut from melancholic to erotic; some are violent, brutal affairs, and others are more psychological. The essays include cinematic and literary a...

Wake Up, Maggie , the debut novel from Christine Makepeace, former editor of Paracinema magazine, is the haunting tale of a middle-aged woman whose life is thrown into turmoil by the sudden relocation to a new home. Makepeace explores the devastating effects of trauma and guilt as Maggie battles her dark past, and confronts visions and memories of her long-dead brother which threaten the very fabric of her sanity. As shadows invade her domestic space, and dark thoughts plague her waking hours, Maggie begins a slow and harrowing descent into psychological anguish. I recently caught up with Christine to talk about her debut novel, the influences of Shirley Jackson, Gillian Flynn and Gothic literature, and the appeal of unreliable narrators… You once described Wake Up, Maggie as a story "about a sad lady." Can you talk me through the genesis of the story? How did it come to you? I'm shocked at how often I "pitched" the book that way. It's sort of tel...

Earlier this year when Kate Bush announced a series of live shows (her first since 1979’s Tour of Life ) fans the world over waited with baited breath to see what would happen. Before the Dawn , a 22 date residency at the Hammersmith Apollo, sold out within minutes of tickets going on sale. Despite several friends and myself trying on various sites, I was unable to obtain a ticket; until a friend of a friend revealed she had a spare. I was therefore lucky enough to go and see Kate perform on 16th September with said friend, and it was an evening we shall both treasure forever… Bush has almost always had a reputation for being reclusive, which has of course led to her being viewed through a particular shroud of mystique. In the words of one critic, she “got all the madwomen down from the attic and into the charts.” Few figures in contemporary music are as original, idiosyncratic and visionary as Kate Bush, and fewer, even those who share the same mythic reputation, could generate...

Rebecca Vaughan An artist, gripped by the clutching fingers of a dead past; a scientist, defying nature in the dark realm of the senses; an expectant couple, driven mad by creeping shadows… These are the chilling tales relayed by a lone, haunted woman in Dyad Production’s latest show, Female Gothic . A one-woman theatrical production, this dark celebration of female gothic literature is adapted and performed by Rebecca Vaughan, who assumes the role of narrator, as well as frequently channelling the various characters that move throughout the three distinct tales of quiet terror she shares. Victorian fascination with tales of supernatural mystery and the macabre has created an enduring legacy of Gothic fiction; but, with a mere handful of exceptions, it is often, unfairly, the male writers that are remembered. Many eerie tales of terror from female writers of that era – which subversively articulated and highlighted women's dissatisfaction and frustration with the confines...