By guest contributor Matt Rogerson The phenomenon of liminal spaces is one that traditionally exists in both Architecture and Psychology. With its beginnings in the term ‘liminality’, conceived by Arnold Van Gennep in his book Rites de Passage (1909) and determined to mean a passageway, be it from one physical location, situation, status or time […]
A wounded hand disappears into nothingness as a modern, chain link fence divides us, at least initially, from an idyllic English churchyard; if Penda’s Fen (1973) can be seen as fairly recusant in its treatment of themes and narrative structure, then you could equally argue that it spells out its key themes, or at least […]
You’ve gotta love a film that straight away states its intent (and understand a film which needs to sell its merits pretty damn quickly) and Nightmare (1981) does both of these things. We’re off with a dream of a dismembered body, a shrieking nightmare, a man in a straightjacket – and the immediate need to […]
An older title arriving to Screambox (a decade after its release), this 2014 Hungarian foreign language film that has the honor of being Hungary’s first official feature length, found footage horror movie delves into history and a true crime: one of the darkest unsolved mysteries in Finland. Bodom attempts to take us back to the […]
Appearing midway-through what might once have been the new normal of the New Extremity movement of the Nineties and early Noughties, Calvaire (2004) was, nonetheless, an odd and interesting fit for that movement. No doubt it was helped into existence by the advent of films like Irréversible, which had been released two years prior (sharing […]
Ahead of writing up this piece, I did a small social experiment with Cloverfield to gauge how audiences felt about it 15 years after, and nearly 400 comments within two hours later, the movie still draws a crowd, and opinions so strong I wasn’t ready for the wave. Takes range from it being the most […]
Irreversible does, at least, warn us of what is coming. In its first few minutes, with its hammering soundtrack, its almost infrasonic hum, its extraordinary, pinballing camerawork and its first pitstop with two odious, broken men who warn us that ‘time destroys all things’, the film instils a kind of sensory fight-or-flight response. It sets […]
By Gabby Foor Shuffling, shambling or sprinting, our relationship with the zombie has changed as fast and furiously as someone bitten by one. In the last twenty-five years we have seen an evolution of the nearly one-hundred-year love affair with the undead in all their various forms, and twenty years ago (counting to its United […]
On occasion, a film comes along which makes an almost immediate, indelible mark. As soon as it appears, it disrupts what came before it; it can be difficult to even remember a time before it, so quickly do its characters and archetypes take hold. Such a film was Ring (1998), coming at the tail end […]
By guest contributor Gabby Foor Horror games provide a unique experience compared to film because they are directly engaging. The sound is in your headset, you control the character and make the life or death choices; it’s you who are directly experiencing jump scares and conducting bloody battles. You get to be a part of […]
Another year bites the dust… From the perspective of the kinds of independent films usually covered here at Warped Perspective, 2022 has, after everything, been a good year for film: lots of the big genre film festivals have boasted excellent, extensive line-ups, and after a run of virtual-only fests, most physical fests are back (though, […]