by Jimmy O'Hara 1. Submit to self at the mercy of an army of cannibalistic teeth. 2. Worship at the altar of a cheesy marinara god. 3. Battle demons from the passenger seat of a predatory automobile. 4. Join a fair/competitively priced pyramid scheme headed by THE Barbara Crampton! (And THE Ax Man!) 5. Stream ETHERIA FILM NIGHT 2024, a short film festival dedicated to championing female identifying genre filmmakers, on Shudder NOW! A delightfully dreadful and diverse showing of genre filmmaking promoting independent Women filmmakers within the industry, both on and off screen! From body snatching folklore to edible eldritch horror to a satirical, social media induced slasher, these nine short selections from Women writers, directors, producers, and stars entertain a wide variety of chills, thrills, and overall good genre entertainment (and all under 120-minutes)! Kicking things off with the equal parts cheeky and GORY “creature” feature, Tooth, writer Katie Gault and director Jillian Corsie bring a new meaning to “body horror”. Janine Peck stars in a near silent but sensational performance as an elderly woman attacked by her own…teeth!?! Stylish, funny, and BLOODY from start to finish! These teeth have literal teeth and…well, let’s just say that these cannibalistic canines bite back! Faye Jackson’s Ten of Swords brings its own unique hunger. Theo Solomon stars as a zombie with not only a constant craving, but ALSO a conscience as the latest victim of a late-stage capitalistic venture seeking to monetize…the afterlife?!? And these zombies don’t moan and groan all day! Instead, they hold blue collar jobs, perform musical numbers, and form undead unions of likeminded, reanimated proletaries. This gritty allegorical critique offers a chillingly close glimpse into a not-so-distant future society SUFFERING (both living AND dead) under capitalism. A sleek display of postmodern science fiction and jam packed with brutally symbolic imagery, touchingly nuanced performances, and visually dynamic direction. Jackson’s story makes the strongest case for feature-length adaptation with vast potential for lore expansion within her meticulously crafted universe. Sofie Somoroff’s Ride Baby Ride, an antithesis to John Carpenter’s Christine (1983), matches the colorfully whimsical atmospheres established in both aforementioned outings brilliantly, but subtextual exploration of gender roles and female sexual assault dissolves far less comfortably than themes addressed in preceding festival romps. The short runtime is intentional, choosing to abandon the audience as quickly as possible in an effort to disarm their sensibilities throughout the violent action sequence. A non-stop heart racer of (wo)man vs. beast. A young, female mechanic in the middle of nowhere fighting for much more than just her life. The audience can’t help but be affected until after the credits roll. So fast paced, so action packed, so thrilling that it is only capable of being fully digested in the aftermath. A rather disarming and confounding viewing experience that is eerily emblematic of what survivors experience in the wake of an assault.. Subversive, stifling, surreal! And yet, it is Grace Rex’s alluringly unnerving The Shadow Wrangler that steals the show with a provocative probe into the (increasingly) blurry psyche of a smut novelist as she is haunted by metaphysical ruminations of grief. The heavily stylized worlds, of both the writer’s reality and her fiction, clash violently in melodramatic juxtaposition. All seamlessly produced with refreshing polish by writer/director Rex and held together by Mitzki Akaha’s star-making performance in the leading role; equal parts tenacious and grounded, Akaha navigates comedy, drama, and horror with sultry magnetism and cool, veteran-like ease. No matte backdrops, painted with fields of bright flowers hidden between puffy pink clouds, nor romantic sunsets, washing out debonair highwaymen from the dirtiest, wettest dream, can color the dark shadows that creep within this lonely writer’s apartment. A visual FEAST, Rex is the real deal and Akaha has serious chops to match! A duo made in Hollywood heaven (which probably is nowhere near as stunning as that opening sequence)! The festival closes out on the high note with the most hilariously absurd (complimentary) piece for last, Brea Grant’s MLM. Horror legend Barbara Crampton is at the center of a horrific scam aimed at utilizing social media to victimize wealthy, and lonely, suburban housewives. Comedic tour de force’s Jessika Van and Courtney Pauroso succumb to the negative consequences of their “feminist” subscription as the final act, fully allowing the leading duo to show off their range as actors in a meta comedic display of slapstick, satire, and slasher HORROR. The subscription may be terminal, but shipping is free!
Etheria Film Night 2024 is also free to view on their website AND Shudder! Horror fans, be sure to support these works (and more!) from up-and-coming Women filmmakers…or else face the wrath of the Ax Man!
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