With the arrival of ‘A Promising Girl’, Emerald Fennell’s nominated film, female revenge cinema A tribute is given in the face of the Oscars with a colorful and modern proposal, far removed from the usual tone of this type of revenge. In his honor we will remember some of our favorites.
She is revenge
Years change, styles and customs change, but wounded women have cultivated the art of revenge cinematographic with virtuosity and elegance.
When we think of revenge in the movies, we think of Charles Bronson or Sylvester Stallone. On testosterone and submachine guns on his shoulders. But avengers, bloodthirsty, masked or bare-faced, have also existed in the female world. They don’t doubt either when it comes to embarking on the path of revenge.
Angel of revenge
If Abel Ferrara can boast of anything, it is a devastating initial trilogy. From ‘The Assassin of the Drill’ to ‘Crime City’, between 1979 and 1984, he placed three cult films among the favorites for the darkest and most slum cinema. The centerpiece, this ‘Angel of Vengeance’, is the best of the three. Forty years ago Zoë Lund launched this movie so tied to a time that did not ask for forgiveness for being more hooligan than any other example of post-rape revenge.
Ferrara questions male behavior: “Definitely we had a macho side. But you know, we are Italian-Americans. He (his regular screenwriter, Nicholas St. John) is from Manhattan and I am from the Bronx. And that is in us. When you grow up in this environment, at such a young age, it is unavoidable. “It is no coincidence that it is the director who plays the first rapist, even if he wears a mask for the occasion. Amen.
Deadly End (Thriller – in grym film)
Almost half a century has this wild Swedish directed by Bo Arne Vibenius. The uncut version has, by far, the most explicit sexual violence that we have seen. However, as the film approaches climax, it presents a hypnotic, strange rhythm, difficult to catalog but clearly influential in much revolutionary cinema, especially in the early 2000s, when the film became more popular.
Slow motion violence and author’s madness. That last shot of Christina Lindberg’s face hit hard after the biggest ordeal ever seen on screen while his lurid ghosts from the past (that horrifying flashback !!!) are doomed to disappear forever.
One of the last “rape and revenge” movies to catch on was this modern proposition directed by Coralie Fargeat. ‘Revenge’ follows Jen’s (Matilda Lutz) revenge against the three rich (and married) men who sexually assaulted her and left her for dead during a party. Probably the film does not revolutionize the genre, but the supernatural touch that provokes the protagonist’s revenge works as a differentiating element and of a lot of class compared to other much more rudimentary revenges.
Karyn Kusama and Diablo Cody were absolutely right with this immediate cult title about one of our favorite revenges: the one from beyond the grave. Dismissed as a failed horror comedy, over the years we realize that it is actually a terrifying example of what it means to be a teenager. The extended version of the film is somewhat less stereotyped than the film version appears. In addition, Kusama’s direction is elegant, and the photography has a photography away from the genre cliché. A movie that gets better over the years.
One (another) masterpiece by Brian de Palma, in this case adapting the first Stephen King classic. The director takes King’s story to his home and turns this ugly duckling story into a gem of horror full of layers and style. The protagonist’s relationship with her mother is more shocking and terrifying than all the prom revenge that the author can imagine and the De Palma style is present from the close-up sequence of the film, right after the title appears. of the movie.
The last to arrive has been the great revelation of the Bifff that I am enjoying online and that has left everyone who has stood in front of this bestiality written and directed by Dusty Mancinelli and Madeleine Sims-Fewer, the latter is also the impressive leading actress of the film. As grindhouse as arthouse, ‘Violation’ is meant to make noise and to be one of those movies that ask for an ambulance at the door of the room. Welcome then.
Possibly the definitive female revenge film, especially since it comprises more than four hours of fights, shootouts, anime, swords, spectacular dialogues and music of the highest level. Despite having its pluses and minuses, Quentin Tarantino’s great gift to the legend of Uma Thurman and an entertaining diversion full of touches of the best cinema of all time.
La violencia del sexo (Day of the Woman / I spit on your grave)
Meir Zarchi’s film had a very interesting remake a decade ago that ended up forming a trilogy. A couple of years ago, Zarchi himself made a direct sequel to his film, no less than two and a half hours of unbalanced ordeal. The original movie made ‘Straw Dogs’ by Sam Peckinpah look like ‘Small Soldiers’. There was no taboo left to break in the movie. The remake is not bad at all, eye.
Only Quentin Tarantino would be able to make a grindhouse movie, make it beautiful, fast-paced and full of charisma. Empowerment based on step on accelerators and heads filmed in beautiful colors and with a hint of black and white. An anything goes with a head and honesty, as well as a vehicle at the service of some impressive drivers. Tarantino’s best movie?
Peter Strickland’s first film is, of course, the one that shows the fewest clues of what was to come, but it is an exhilarating tale of European female revenge. Hard and to the point, without regard and without seeking to please anyone, ‘Katalin Varga’ works as a direct stone to the head. A couple of masterful sequences in very strategic points make it a rocket if we take into account the material it handles, very given to contemplation and blank stares.
The Seasoning House
The British Paul Hyett has gone from more to less, something logical watching this portentous ‘The Seasoning House’, a very uncomfortable kind of revision of ‘Thriller: a cruel picture’ (see above) with a deaf-mute protagonist and with moments of gore mind-boggling and subtle. Hyett, responsible for the visual effects of much of the new British horror, feels at home with a balkan nightmare who is very clear about what he wants and how to get it. Unpublished around here, it is time for someone to re-catch it.