The Final Girls: A Horror Film Podcast

Part of our new series devoted to exploring the vampire in horror cinema, in this episode we discuss a double-bill of Black vampire films: the blaxploitation horror take on Dracula, Blacula (1972); and the extraordinary experimental horror Ganja and Hess (1973). Joining us in this episode is film critic Leila Latif. Blacula (1972) from 00:04:07Ganja & Hess (1973) from 00:26:29 (spoilers for the ending only from 0:51:44) This season is made possible with the support of Arrow Video. This week's pick from their vast catalogue is REC. Produced and presented by Anna Bogutskaya. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. Subscribe to our newsletter for a weekly dose of curated horror treats. Follow Anna on @annabdemented and Olivia is on @livihowe

A bonus episode about the acclaimed sci-fi horror film Possessor, written and directed by Brandon Cronenberg. In Possessor, Tasya Vos, an elite, corporate assassin, takes control of other people's bodies using brain-implant technology to execute high-profile targets. Possessor is out now on VOD in the UK. Listen to our spoiler-free interview with Brandon Cronenberg. In this episode we're joined by critic and podcaster Becky Darke for a deep dive into the film. The first part of the episode is spoiler free. From 0:030:46 we will go into a spoilerific discussion. We touch on the body horror, extreme violence, burnout, self-mutilation, female assassins, and a lot more. You can read Becky's essay on the film, "Penetrating Possessor" here. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

A bonus episode interview with the writer/director of the acclaimed sci-fi horror film Possessor. In Possessor, Tasya Vos, an elite, corporate assassin, takes control of other people's bodies using brain-implant technology to execute high-profile targets. Possessor is out now on VOD in the UK. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. Follow Anna on @annabdemented and Olivia is on @livihowe

Part of our new series devoted to exploring the vampire in horror cinema, in this episode we dive deep into two 1970s entries into the very prolific subgenre of lesbian vampire films. The utterly unique Daughters of Darkness (1971) and the Spanish take on Carmilla The Blood Spattered Bride (1972)Joining us in this episode is editor-in-chief of Diabolique Magazine, author and film critic Kat Ellinger, who has written a whole book on Daughters of Darkness. Daughters of Darkness (1971) from 00:04:51 (spoilers from 00:24:38) The Blood Spattered Bride (1972) from 00:56:16This season is made possible with the support of Arrow Video. This week's pick from their vast catalogue is Richard Kelly's Southland Tales. Produced and presented by Anna Bogutskaya. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. Subscribe to our newsletter for a weekly dose of curated horror treats. Follow Anna on @annabdemented and Olivia is on @livihowe

Part of our new series devoted to exploring the vampire in horror cinema, in this episode we dive deep into one of the most influential vampire films ever shot, F.W. Murnau's Nosferatu, A Symphony of Horror (1922) as well as the Werner Herzog-helmed reimagining Nosferatu, the Vampyre (1979). Joining us is film critic and silent film specialist Pamela Hutchinson. Nosferatu (1922) from 00:03:55Nosferatu, the Vampyre (1979) from 00:23:00This season is made possible with the support of Arrow Video. Produced and presented by Anna Bogutskaya. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. Subscribe to our newsletter for new, original writing on horror. Follow Anna on @annabdemented and Olivia is on @livihowe New episode every Friday with a special guest to discuss a vampire film (or two). Produced and presented by Anna Bogutskaya. This season is made possible with the support of Arrow Video.

Our first episode of our new series devoted to exploring the vampire in horror cinema is all about THE most famous vampire of them all: Count Dracula. Joining us is special guest and vampire expert Dr. Sorcha Ní Fhlainn to discuss the screen adaptations of Dracula, from the original Bela Lugosi Dracula (1931), via Sir Christopher Lee's iconic Horror of Dracula (1958) and finishing with gothic romance Dracula (1979) starring Frank Langella and his epic bouffant. Dracula (1931) from 00:09:55Horror of Dracula (1958) from 00:28:08Dracula (1979) from 00:47:35 If you want to explore the vampire more, we recommend Ní Fhlainn's books Postmodern Vampires and the short story collection Visions of the Vampire: Two Centuries of Immortal Tales. This season is made possible with the support of Arrow Video. Produced and presented by Anna Bogutskaya. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. Subscribe to our newsletter for new, original writing on horror. Follow Anna on @annabdemented and Olivia is on @livihowe

In this third season, we will be exploring the the most elegant of monsters - the vampire. We’ll look at how vampires have evolved in horror and why we’re so into them. New episode every Friday with a special guest to discuss a vampire film (or two). Produced and presented by Anna Bogutskaya. This season is made possible with the support of Arrow Video. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by Den of Geek's UK Editor, Rosie Fletcher to discuss the scares, themes and metaphors of Relic (2020), the feature film debut by Natalie Erika James. The first part of the episode is spoiler free, and from 0:015:00 we will go into a spoilerific discussion. When family matriarch Edna goes missing, her daughter and granddaughter return home to find her. They discover a haunting presence hanging over the home, which is taking over Edna's mind.Relic is out now in UK cinemas and on VOD. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer Leila Latif to discuss His House (2020), the feature film debut by Remi Weekes. The first part of the episode is spoiler free, and from 0:020:44 we will go into a spoilerific discussion. The film centers on refugee couple Bol and Rial, who make a harrowing escape from war-torn South Sudan, but then struggle to adjust to their new life in an English town that has an evil lurking beneath the surface.His House is streaming on Netflix now. Digressions include Ṣọpẹ Dìrísù's arms, Wunmi Mosaku's sheer talent, privilege, unseasoned food and our own immigrant experience. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer Leila Latif to discuss The Craft Legacy (2020), the new sequel/reimagining of 1990s teen horror classic The Craft. The first part of the episode is spoiler free, and from 0:020:44 we will go into a spoilerific discussion. An eclectic foursome of aspiring teenage witches get more than they bargained for as they lean into their newfound powers.The Craft Legacy is in UK cinemas now. Digressions include the wholesome Instagram of Skeet Ulrich, the acting range of Matthew Lillard, ASOS necklaces. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by presenter and writer Louise Blain to dive deep into all things mermaid, with the Polish horror musical The Lure (2015) and the atmospheric gothic horror The Siren (2019). NOTE: Spoilers for The Lure begin from 0:17:06*** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and podcaster MaryBeth McAndrews to tear apart the French body horror Raw (2016), why there should be more disgusting women onscreen, sisterly bonds, Justine's sexual awakening, family secrets, big bisexual energy, and much more. Digressions include: university experiences, a cannibal themed t-shirt line, and what to do if your children are cannibals. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer Leila Latif to dig deep into some of the ideas in The Girl with All the Gifts (2016), a British zombie film that came at the tail-end of zombie fatigue. Digressions include: babies grow nails in the womb, monsters we can emphasise with and who's the real protagonist of Trouble Every Day. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and podcaster Louise Blain for a deep dive into the most anticipated horror series of the year: The Haunting of Bly Manor.The first part of the episode is spoiler free, and from 0:016:30 we will go into a spoilerific discussion. Bright-eyed American au pair Dani Clayton is hired by a man to look after his niece and nephew at the family country house after they fall into his care. Arriving at the Bly estate, she begins to see apparitions that proceed to haunt the premises.The Haunting of Bly Manor is streaming now on Netflix. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

A bonus episode all about the most hyped about horror film of 2020, Saint Maud, written and directed by Rose Glass. Maud is a reclusive young nurse whose impressionable demeanour causes her to pursue a pious path of Christian devotion after an obscure trauma. Now charged with the hospice care of Amanda, a retired dancer ravaged by cancer, Maud's fervent faith quickly inspires an obsessive conviction that she must save her ward's soul from eternal damnation, whatever the cost.We're joined by film critic Kelli Weston for a deep dive into the film. The first part of the episode is spoiler free, and from 0:016:20 we will go into a spoilerific discussion. We touch on the themes of repression, the use of religious iconography, self-harm, voyeurism, loneliness and the voice of God. Following the discussion, from 1:14:00 you can hear my interview with writer-director Rose Glass and lead actor Morfydd Clark. Digressions include: The Prince of Egypt inspires a spin-off podcast. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and podcaster Becky Darke to dive into a double-bill of creepy, possessed murder dolls. First up we'll discuss Bride of Chucky (1998) and from 0:31:00 we'll dive into Annabelle (2014). Digressions include: dolly sex, the Wanaverse and smooth jazz. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

Actor and writer Isaura Barbé-Brown joins us again to discuss two films she's obsessed with, for very different reasons: Splice (2009) and Under the Skin (2013). Digressions include: how to define a penis-poop monster. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon.

We are blessed with culture critic, podcaster and producer Jordan Crucchiola's in-depth takes on the Karyn Kusama-directed, Diablo Cody-penned, Megan Fox-starring Jennifer's Body (2009), where a teen girl becomes possessed and turns into a succubus after she is sacrificed to Satan. From 1:04:25, we discuss All Cheerleader's Die (2013), a film that has witchcraft, zombies, cheerleaders, magic crystals, and high school politics. A rebel girl signs up a group of cheerleaders to help her take down the captain of their high school football team. Digressions include: simpler times on social media, Big Cate Blanchett Energy, having fun with trash. Read the article Jordan references on the reappraisal of Jennifer's Body: You Probably Owe "Jennifer's Body" An Apology. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

How could we not cover a new addition to the Ryan Murphy Cinematic Universe. In 1947, Mildred Ratched begins working as a nurse at a leading psychiatric hospital. But beneath her stylish exterior lurks a growing darkness.We're joined by The Independent's and The Next Supremes' Clarisse Loughrey to discuss the whole series in detail. The first part of the episode is spoiler free, and from 0:23:43 we will go into a spoilerific discussion about the show. The show is created by Evan Romansky based on Ken Kesey’s novel One Flew Over the Cuckoo’s Nest, and works as a prequel to the 1975 film of the same name. Ratched stars Sarah Paulson in the title role of Nurse Ratched, alongside Finn Wittrock, Jon Jon Briones, Judy Davis, Harriet Harris, Cynthia Nixon, Charlie Carver, Sophie Okonedo, Corey Stoll, Hunter Parrish, Amanda Plummer and Sharon Stone. Ratched is streaming now on Netflix. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and podcaster Becky Darke to dive into the 2007 horror-comedy Teeth, in which teenage chastity advocate Dawn discovers she has a toothed vagina (the real-life incarnation of the 'vagina dentata' myth) when she becomes the object of male violence. Digressions include: WAP, Whitby and severed penises. 100% NSFW *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer Leila Latif to deep dive into the controversial erotical cannibal horror by French auteur Claire Denis, Trouble Every Day (2001). The film inhabits the strange grey area between arthouse and horror cinema, and will most definitely provoke a reaction. We discuss the fantastic performance by Béatrice Dalle, what the film is really about, themes of infidelity, desire, the way the hyper-graphic violence is shot and Leila posits a whole new theory on the film. Trigger warning: there is some conversation about sexual assault. ***The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by film critic, cinema producer and Bloody Women Editor Tara Judah to discuss in the haunting new horror film, Koko-di, Koko-da, which has just landed in UK cinemas and online. The discussion contains no spoilers. Three years after a shattering personal tragedy, Elin and Tobias’ marriage is at breaking point. Consumed with unresolved pain and anger, the sparring pair head to the great outdoors for a camping trip in the hopes of salvaging their fractured relationship. But unbeknownst to these unhappy campers, they are not alone in the forest and soon Elin and Tobias find themselves trapped in a nightmarish cycle of torment and degradation from which there appears to be no escape.In the second part of the episode you’ll hear my interview (from 0:19:44) with writer-director Johannes Nyholm. Koko-di, Koko-da is streaming now on BFI Player. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and co-host of The Faculty of Horror podcast, Alexandra West, to dive deep into one of the best teen horror films ever made, Canadian werewolf movie Ginger Snaps (2000). We touch on how the film captures suburban boredom, teenage angst, the taboo around periods and female sexuality. Read Anna's piece on the making and legacy of Ginger Snaps over on Little White Lies. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and podcaster Louise Blain to dive into the horror of the new millennium. First, the direct-to-video J-horror that set-ff The Grudge franchise, Ju-On: The Curse (2000) and THAT SOUND. The second part of the episode (from 0:27:51) will discuss the first English-language remake of Ringu (1998) that set-off a trend, The Ring (2002). *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer Leila Latif to discuss two nineties takes on the female alien. First, we discuss Species (1995) and its insanely misused cast, mix of genres and non-consensual alien sex. The second part of the episode (from 0:23:15) dives into The Faculty (1998), how this teen sci-fi has aged, the teenage dynamics, the very Josh Hartnett brand of 'hardboi' and why the alien may have had a point. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer and podcaster Becky Darke to dive into two zombies of a very different ilk: Bride of Re-Animator (1990) and Return of the Living Dead III (1993), both directed by Brian Yuzna. We chat about the homage to Bride of Frankenstein (1935), Herbert West's hubris, the Bride's look and the literal monster mash. In the second part of the episode (0:39:50) we move onto Return of the Living Dead III, talking about Julie and her 'bad girl' look, her teenage death wish, and the way that transformation scene. Digressions include: early YouTube, Jack Off Jill, Marisa's mom on The O.C., and the heat wave. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by writer, podcaster and comedian Jourdain Searles to talk about The Bride (1985) and exploitation horror-comedy Frankenhooker (1990). We touch on the amazing performance by Jennifer Beales, Sting as a Frankenstein softboi, accidental winking at key societal issues, the absolute hilarity of 'supercrack', and justice for Zorro. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by film critic and broadcaster Rhianna Dhillon to dive deep into Aliens (1986). We talk about the dynamics of the crew, what makes Ripley so iconic, Vazquez's BDE, themes of motherhood, and, of course, the Alien Queen. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by podcaster and writer Becky Darke to discuss in detail the brand new horror film, and the first-ever Zoom horror, Host (2020). Six friends get together during lockdown for their weekly zoom call. It's Haley’s turn to organise an activity and instead of a quiz, she’s arranged for a Medium to conduct a séanceHost is streaming now on Shudder. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by horror film writer and filmmaker Zena from Real Queen of Horror to discuss a double-bill of 1980s weirdness: Paul Schrader's erotic horror Cat People (1982) and the horror comedy Vamp (1986), with a knock out performance by Grace Jones. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by Watershed's Cinema Producer and film critic Tara Judah for a discussion on David Cronenberg's body horror classic The Brood (1979). We talk about taboos around motherhood, birth, divorce, how the film was perceived on release and how it's aged, Oliver Reed, and so much more. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We're joined by film critic Kelli Weston for a deep, deep dive on the inimitable classic of horror cinema, Brian de Palma's Carrie (1976). We talk about the monstrous feminine, otherness, Sissy Spacek, period horror, who's the real villain in the film and so much more. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

This episode discusses two gorgeous, Gothic Hammer Horror classics: The Gorgon (1964) and The Reptile (1966). Writer Kat Ellinger joins us to dive deep into where these films sit in the Hammer canon, the special effects, Gothic settings, why female monsters always need to be tortured, and what is it about snake-women. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

We talk about two curious creature features from the 1950s: the very sultry Curse of the Cobra (1955) and Roger Corman's exploitation film The Wasp Woman (1959). I’m joined in this episode by writer Virginie Selavy to discuss Corman's penchant for strong women, the questionable special effects, and the snake POV shots. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

In the first episode of our new season all about monsters, we talk the female-fronted sequels to the most iconic monster movies, Bride of Frankenstein (1935) and Dracula’s Daughter (1936). I’m joined in this episode by writer Dr. Sabina Stent to discuss what makes The Bride so iconic, how Countess Valeska pioneered the 'troubled vampire' and more. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

In the first episode of our new season all about monsters, we talk about The Island of lost Souls (1932) and Cat People (1942). These two films make for a wicked double bill of cat-themed horror. I’m joined in this episode by Dr. Alison Peirse, author and professor specialised in horror cinema, to discuss Panther Women, cat-themed horror and how these films tackle female sexuality. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Support us on Patreon. The illustration of the cover is by Yas Aybar. Follow Anna on @annabdemented and Olivia is on @livihowe

Monster stories are incredibly powerful. They explore prejudice, rejection, anger and pain. Watching the monster’s pain prevents us from losing control of our own. In this season, we’ll be tracing the lineage and evolution of female monsters and the monstrous feminine. Produced and presented by The Final Girls co-founder Anna Bogutskaya.Launching on 12 June, a new episode will land in your feed every Friday. In every episode, we will be discussing a different monster film (or two). Illustration by Yas Aybar

We've come to the end of our season about witches! In this final episode, we round up and celebrate our favourite 13 witches from film and TV. Anna is joined by frequent guest and podcaster extraordinaire Becky Darke to countdown to our top, indisputable, all-time Best Witch Film Ever. We will be back in June with a new season. Let us know what you think of the podcast and this series by rating it r leaving us a review on Apple Podcasts. Our special guest this episode is Becky Darke, follow her work on @bunnydarke and listen to her podcast Don't Point That Horror At Me ***Find out more about our projects here: thefinalgirls.co.uk Support us on Patreon! We'll be Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

Veronica Lake plays a 300-year-old witch who returns to life and wreaks havoc when she falls in love with a young politician, played by Frederic March. A romance fantasy comedy, the film by René Clair has had a noticeable influence on other witch films that blend romance and witchcraft. I'm joined in this episode by film writer, critic and historian Pamela Hutchison to talk the context this film was made in, the dark themes explored under all the laughs and Veronica Lake's charming performance. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

A staunchly skeptical professor, Norman (Peter Wyngarde) discovers that his wife Tansy (Janet Blair) has been practicing black magic for years. When he destroys her charms, they fall prey to evil forces cast by someone else in the college. I'm joined in this episode by horror fan and podcaster Ally Penelope, who hosts the Kill Count podcast, to dive into the ideas in Burn, Witch, Burn! We discuss the strong bond between Norman and Tansy, the hidden darkness in suburbia, the crazy credits of the film and its influence on better known horror films like The Stepford Wives or Rosemary's Baby. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

Set in 1965, rebellious teenage Heather (Agnes Bruckner) is sent to a remote all-girls boarding school by her resigned parents, where she has strange, violent dreams and struggles to fit into the school power dynamics. Very soon, she starts suspecting that the teachers, led by the chilly Mrs. Traverse (Patricia Clarkson) might be hiding something. Directed by Lucky McKee, the mind behind such horror cult classics as May and All Cheerleaders Die, this is a witch film big on atmosphere. I’m joined in this episode by producer, presenter and podcaster Louise Blain, host of the Killt Podcast. We talk about the atmosphere of the film, the power dynamics of boardings schools, all-female environments and a lot about Bruce Campbell. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

The Witches (1990), Nicholas Roeg's adaptation of Roald Dahl's book, is traumatising af. A young boy and his grandmother as stumble onto a witch's convention. The witches are wicked and sadistic, and beneath their appearance as regular women are hideous, bald, toe-less creatures who hate children more than anything else. Their leader, the Grand High Witch (portrayed with maximum camp by Anjelica Huston) is the worst witch of them all. I’m joined by the wicked smart Tara Judah, Cinema Producer at the Watershed in Bristol and frequent collaborator of The Final Girls, to dig into some of the reasons why this film, and Angelica Huston’s performance, really gets under your skin. We talk about Anjelica Huston's sexy, slinky and campy take on the Grand High Witch, the grotesque physicality of the witches, how this fits into Nicholas Roeg's other work and why it remains terrifying for both children AND adults. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

In this episode, we’re diving into Mario Bava’s atmospheric gothic horror Black Sunday, released in 1960 and banned in the UK untill 1968 for its graphic violence, considered too gruesome at the time. Based very loosely on Nikolai Gogol’s story VIY (which also has its own Soviet film adaptation that I’d highly encourage you to check out!), Black Sunday follows the wrath of the powerful witch-vampire Asa (played by Barbara Steele in her first big screen role), who places a curse on her family after they execute her for her devotion to Satan. Centuries later, she is resurrected and aims to take the body of her descendant, the innocent Katja (also played by Steele). I’m joined in this episode by Beatrice Loayza, film and culture writer at such outlets as The Guardian, The AV Club, Sight & Sound, i-D and many more. We discuss the gender politics of the film, Barbara Steele's dual role, the conflation of witch and vampire, and the gruesome focus on the face. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

Anna Biller's film centers on Elaine (Samantha Robinson), a beautiful young witch, is determined to find a man to love her. In her Gothic Victorian apartment she makes spells and potions, and then picks up men and seduces them. However, her spells work too well, leaving her with a string of hapless victims. When she finally meets the man of her dreams, her desperation to be loved will drive her to the brink of insanity and murder. I’m joined in this episode by Inkoo Kang, TV critic at The Hollywood Reporter. We talk about Elaine as a protagonist who doesn't know she's the villain of her own story, the questionable coven, witchdom, gender politics, and where this film falls in the genre spectrum. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

In this episode, we’re going to tackle a genuinely terrifying, creepy little film: The Autopsy of Jane Doe. Starring Emile Hirsch and Brian Cox as father-and-son coroners who experience supernatural phenomena while examining the body of an unidentified woman (hence the name Jane Doe) (played by Olwen Kelly). The more they uncover about Jane Doe, the spookier things get. I’m joined in this episode by producer, presenter and podcaster Louise Blain, host of the Killt Podcast. We talk about the power of rituals, the compact nature of the film, the unmoving but uber-powerful protagonist, how it makes use of sound design and our own morbid curiosity and we pitch about twenty potential sequels and spin-offs to the film.*** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

In this episode, we’re diving into Luca Guadagnino's remake of a witchy horror classic, Suspiria. The basic premise of the 2018 Suspiria is the same: young, naive dancer Suzy (here played by Dakota Johnson, a Guadagnino regular) arrives in late 70s Berlin to audition for the renowned Helena Markos Dance Company. She quickly nabs the lead dancer role in an upcoming performance, impressing the head of the school, Madame Blanc (Tilda Swinton) but her arrival coincides with the disappearance of another dancer. Meanwhile, an inquisitive psychotherapist and a member of the troupe uncover dark and sinister secrets of the dance company. Our guest this episode is film critic, writer, programmer and Suspiria-ologist Alexandra Heller-Nicholas (@suspirialex) to discuss the relationship between Fassbinder and Suspiria, dance horror, collectives of women, and the power dynamics between witches. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

In this episode, we’re looking at one of the most underseen films by the iconic director George A. Romero. We’ll be chatting about Season of the Witch (aka Jack’s Wife, aka Hungry Wives), Romero’s 1973 drama about an anxiety-ridden housewife (Jan White) who starts dabbling in the occult after meeting a real-life witch at a cocktail party. It’s a strange, eerie film, really clearly influenced by the third wave feminist movement and also the witch-craze of the late 60s and 70s. There’s suburban ennui, occult rituals, sex magick - and, for the eagle-eyed viewer, a ton of elements that we’ve seen in later films, like The Craft. Our guest this episode is broadcaster Rowena Alice (@Rowenaaaaa), who joins Anna to discuss the themes, feminist intentions, occult leanings and complicated relationship between the lead characters. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

Today, we take a little detour from our series dedicated to exploring witches onscreen to bring you a bonus episode about the new film by writer-director Leigh Whannell (Saw, Insidious, Upgrade). The first part of the episode features podcaster Becky Darke (@bunnydarke) on how The Invisible Man updates a classic monster, we gush about Elisabeth Moss, and how tension is built from the first moment. The first part of the conversation will be spoiler-free and we'll make it clear when the spoiler-chat begins! In the second part of the episode you’ll hear my interview with writer-director Leigh Whannell. You can skip to that at 0:46:50 The Invisible Man is released in UK cinemas on Friday 28 February. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe

In this episode, we’re going to tackle the third series of Ryan Murphy’s anthology horror series, American Horror Story: Coven. Starring screen legends Jessica Lange, Sarah Paulson, Kathy Bates, Angela Bassett and Murphy’s repertoire of actors, including Emma Roberts and Evan Peters, Coven is all about witches. Namely, a coven in New Orleans close to being eradicated and battling internal politics to do with its reigning supreme.There is also a resurrected serial killer, Madame LaLaurie (Kathy Bates), and the first screen incarnation of New Orleans legend, the voodoo queen Marie Laveu (Angela Bassett). I’m joined in this episode by film producer Jen Handorf to discuss the witchiness, narrative arcs, grotesque violence, male objectification, how it attempts to deal with difficult subjects, New Orleans as a character, issues of consent, the real-life inspirations behind some of the characters (including a lot of chat on Marie Laveau) and the one tender moment in the series. There's a lot. *** To coincide with our season of films and events, Here Be Witches, we will be focusing this first series on exploring all things witchcraft on film. Each episode, we will dive deep into films and TV shows that we can’t necessarily screen. Each episode, we’ll be joined with special guests to dissect and discuss a film or show, its legacy and the way witches are represented. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe Our special guest this episode is Jen Handorf, find her on @JHandorf

Today, we take a little detour from our series dedicated to exploring witches onscreen to bring you a bonus episode about the new film by director Jessica Hausner, the plant-based sci-fi horror Little Joe. The first part of the episode features broadcaster Rowena Alice (@Rowenaaaaa) to discuss the film and some the themes it touches on. In the second part of the episode you’ll hear our interview with lead actress Emily Beecham, who picked up the Best Actress award at the Cannes Film Festival for her performance in Little Joe. Little Joe is released in UK cinemas on Friday 21 February. You can watch the trailer here. *** The Final Girls are a UK-based film collective exploring the intersections of horror film and feminism. Find out more about our projects here: thefinalgirls.co.uk Follow us on Twitter, Instagram and Facebook. Follow Anna on @annabdemented and Olivia is on @livihowe