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Intriguing. But was there a killer in Hangasman? Feels like, if in this fictional universe SJ was writing it at a time when there was a real killer stalking around, you'd have thought she'd fictionalise that rather than just the weirdos she was hanging around with. Anyway, sounds like it's worth a watch...

A real girl actually disappeared in 1946 in the area. She's basically riffing on that during the film. It's worth noting though that her depression and drinking was hampering her progress. The novel Hangsaman does touch on many of the themes explored in the film.

You've made think that I should rewrite the reiew!
 
It should be noted that the film Shirley is not a biopic, and is more or less invented with Jackson as the main character in a fiction. Not sure why they did that, other than her real life being uneventful outside of her popular writings.
 
It should be noted that the film Shirley is not a biopic, and is more or less invented with Jackson as the main character in a fiction. Not sure why they did that, other than her real life being uneventful outside of her popular writings.

A lot of what happens in the film did occur, her depression and drinking around the time she was writing Hangsaman, how the disappearance of the girl inspired the narrative, as did campus faculty life.

It is a biopic which invents some characters. Many biopics do this and also conflate people/events and compress time periods
 
A lot of what happens in the film did occur, her depression and drinking around the time she was writing Hangsaman, how the disappearance of the girl inspired the narrative, as did campus faculty life.

It is a biopic which invents some characters. Many biopics do this and also conflate people/events and compress time periods

I must admit I haven't seen it, but the description of it being Who's Afraid of Shirley Jackson? put me off.
 
'Fortean' is when a fish falls out of the sky and onto your head.

'Folk Horror' is when a fish falls out of the sky and onto your head, and knocks you out.

You wake up - the fish is wearing antlers; possibly with small bells and/or wildflowers attached.

At some point the fish ties you to a post and eviscerates you.

The above pitch is now the subject of a bidding war between Ari Aster and Ben Wheatley. And I am also being sued by Captain Birdseye.
 
New Tricks: Wicca Work (S3, Ep5): A cold case murder, witches, The Green Man, hallucinations, strange teas, even a touch of The Wicker Man. Well imagined, also involving a psychiatrist and a witch in the woods. Saw it on the Drama Channel. 8/10.
 
Crucible Of the Vampire: An interesting Folk Horror film which has echoes of Witchfinder General, The Wicker Man and the Vampire Lovers. A young archaeologist, Isabelle (Katie Goldfinch) travels to a Gothic stately pile to examine half a cauldron which has been found during renovations. This may be the missing half of a Druidic cauldron which Isabelle's University holds. The family at the old house are rather creepy with the father apparently intent on selling the artifact. The dancing daughter has her sights set on Isabelle. There are flashbacks to the 17th Century when a Witchfinder and his soldiers hang a man they accuse of sorcery and cleave his cauldron in twain. The local woods are reputed to have been cursed by evil since ancient times. Some of the effects are a bit ropey but there are are effective dream and vision sequences. The mansion provides long corridors for chasing and the Vampires do have some bite. Not a classic but worth watching. Directed and Co-Written by Iain Ross-McNamee. I watched the Director's Cut on Flick Vault. 6/10.
 
Roh: Malaysian folk Horror dealing with the tropes of demons, possession and reanimation through sui generis elements of necromancy. A family living in the jungle attract the attentions of an undead little girl. Some of the characters portrayed are more archetypes than individuals, a hunter, a shaman. The use of soil and birds in the rituals and the need to compete them is emphasised, the penalty for a mistake is death. Some interesting plot twists in a film shot entirely in a dark hut or the jungle. Directed and Co-Written by Emir Ezwan. On Netflix. 7/10.
 
Roh: Malaysian folk Horror dealing with the tropes of demons, possession and reanimation through sui generis elements of necromancy. A family living in the jungle attract the attentions of an undead little girl. Some of the characters portrayed are more archetypes than individuals, a hunter, a shaman. The use of soil and birds in the rituals and the need to compete them is emphasised, the penalty for a mistake is death. Some interesting plot twists in a film shot entirely in a dark hut or the jungle. Directed and Co-Written by Emir Ezwan. On Netflix. 7/10.

Is there a Scooby-Doo version called Ruh-Roh?
 
In The Earth: A Virus stalks the Earth, we only learn of it in dribs and drabs, three people died in the village, relatives dead, disinfecting, tests, shortages hinted at - someone glad to see coffee. But it's the earth and the Forest growing on it which is the main protagonist in this film. It's a strange forest, GPRS doesn't work there,it can only be penetrated on foot, so a two day trek is necessary to reach the camp of a scientist working on communicating with trees and plants who share a connected roots system. But the forest is also supposedly haunted by a Witch, others say that a Shaman was pursued into the woods millennia ago and fused with the trees

A strange tale where those trekking into the woodlands come under attack. A comical helpful hippy hermit has a sinister side. The Occult (even the Malleus Maleficarum) sit side by side with Folk Magic, Folk Songs/Chants, totems and electronic audio/visual means of communicating with Tree Network. Mushrooms also open some gates and close them when fungal spores form a mist, producing hallucinations. Some beautiful film shots by Director of Photography Nick Gillespie where the light and shadows blend and separate into natural hues and mushroom mists are captured so well. The effects are also impressive not just the trippy elements but the severing of body parts and literal hatchet work which provide a few shocks. Good acting all round in this dark and worthy addition to the English Folk Horror Canon which is Written, Directed and Edited by Ben Wheatley. 8/10.
 
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Good acting all round in this dark and worthy addition to the English Folk Horror Cannon which is Written, Directed and Edited by Ben Wheatley. 8/10.

22529387537_948ef899f5_c.jpg
 
In The Earth: A Virus stalks the Earth, we only learn of it in dribs and drabs, three people died in the village, relatives dead, disinfecting, tests, shortages hinted at - someone glad to see coffee. But it's the earth and the Forest growing on it which is the main protagonist in this film. It's a strange forest, GPRS doesn't work there,it can only be penetrated on foot, so a two day trek is necessary to reach the camp of a scientist working on communicating with trees and plants who share a connected roots system. But the forest is also supposedly haunted by a Witch, others say that a Shaman was pursued into the woods millennia ago and fused with the trees

A strange tale where those trekking into the woodlands come under attack. A comical helpful hippy hermit has a sinister side. The Occult (even the Malleus Maleficarum) sit side by side with Folk Magic, Folk Songs/Chants, totems and electronic audio/visual means of communicating with Tree Network. Mushrooms also open some gates and close them when fungal spores form a mist, producign hallucinations. Some beautiful film shots by Director of Photography Nick Gillespie where the light and shadows blend and separate into natural hues and mushroom mists are captured so well. The effects are also impressive not just the trippy elements but the severing of body parts and literal hatchet work which provide a few shocks. Good acting all round in this dark and worthy addition to the English Folk Horror Cannon which is Written, Directed and Edited by Ben Wheatley. 8/10.

What channel/streaming service is this on?
 
Sounds like an interesting collection.

THE LETTERS OF SHIRLEY JACKSON
Edited by Laurence Jackson Hyman in consultation with Bernice M. Murphy

The two most revealing documents in this hefty collection of unpublished letters written by the novelist Shirley Jackson were never sent. One was addressed to her mother, and the other to her husband, Stanley Edgar Hyman. Both were written not long before Jackson died in her sleep in 1965, at the age of 48. A third important but technically unsent letter included in this volume wouldn’t have even required postage: Jackson wrote it to herself, possibly sometime in 1963. “One world is writing and one is not,” she observed, “and from the one which is not, it is not possible to understand the one which is.”

Many writers feel that the self who writes exists in a partially unknowable state, separate from the self who goes about her worldly business, talking with friends and colleagues, cooking dinner, ferrying her children around. With Jackson, the division seems especially vivid, and also tripartite, an impression that this collection, edited by her son Laurence Jackson Hyman, solidifies. She had not one but two authorial identities, and they appeared to be polar opposites. Early in her career, Jackson wrote linked, semi-fictionalized accounts of raising her four rambunctious children in the small town of North Bennington, Vt., and sold them for tidy sums to women’s magazines. The publication of these genuinely delightful, humorous pieces in a 1953 collection, “Life Among the Savages,” proved equally successful. Another book, “Raising Demons,” followed in 1957, and the income Jackson earned from her pen often outpaced Hyman’s as a staff writer for The New Yorker and a professor at Bennington College.

At the same time Jackson also regularly published more sinister, enigmatic short fiction in general-interest magazines; her most famous story, “The Lottery,” appeared in The New Yorker in 1948 and generated more reader mail than any work of fiction the magazine had ever published. Also set in a small town much like North Bennington, “The Lottery” has, in print and dramatic form, transfixed and perplexed generations of readers with its depiction of a banal rural morning that segues into ritual human sacrifice. In contrast to the bemused mom she wrote about for the women’s magazines, presiding over a house packed with kids, cats, friends and chaos, the rest of Jackson’s fictional heroines tend to be fragile, isolated girls on the brink of unraveling. Her 1954 novel, “The Bird’s Nest,” features a young woman with dissociative identity disorder, the narration including the points of view of her alternate personalities. Any hope that Jackson’s private writing might convey a more unified sense of self seems quixotic. According to her biographer, Ruth Franklin, even as a teenager Jackson “kept multiple diaries simultaneously, each with a different purpose.” ...

In researching her biography, Franklin discovered a cache of letters Jackson wrote to a fan named Jeanne Beatty, whose taste in books she shared. The two never met. It’s only in reading these letters, written between 1959 and 1963, that it becomes evident how lonely Jackson was. Her confessions and enthusiasms come gushing forth as if she were a teenager who had finally, finally found a best friend. She explains to Jeanne her struggles to craft a “sustained taut style full of images and all kinds of double meanings.” At times, these letters relax into something like stream of consciousness, her habitual lowercase prose flowing from household noises to Jackson’s protean plans for “We Have Always Lived in the Castle”: “oo let us make a orchestra cries david you bang on the wastebasket. her name is jenny. she lives with her sister constance in a big old brown house saturated with family memories and her husband lives there too; they have been married for seven years and her sister constance still calls him mr harrap. they are going to kill him because he is a boor i think.” ...

https://www.nytimes.com/2021/07/11/...son-hyman-the-letters-of-shirley-jackson.html
 
We've decided it's high time we properly investigated the work of Ben Wheatley, starting at the beginning.

Down Terrace was first up, I had no idea what to expect but I really enjoyed it. Bonus points for it being set in Brighton and the local references such as 'trouble in Whitehawk' really added a little something for us adopted locals. The first flat I had in Brighton was a stone's throw from the real Down Terrace.

Last Saturday we watched the second instalment, Kill List. Brilliant stuff with incredible performances. Loved it.

Sightseers next.
 
We've decided it's high time we properly investigated the work of Ben Wheatley, starting at the beginning.

Down Terrace was first up, I had no idea what to expect but I really enjoyed it. Bonus points for it being set in Brighton and the local references such as 'trouble in Whitehawk' really added a little something for us adopted locals. The first flat I had in Brighton was a stone's throw from the real Down Terrace.

Last Saturday we watched the second instalment, Kill List. Brilliant stuff with incredible performances. Loved it.

Sightseers next.

Sightseers is great - darkly hilarious. Will look out for the others on your recommendation. I've seen High Rise & A Field in England - both worth a watch.
 
Sounds like an interesting collection.

THE LETTERS OF SHIRLEY JACKSON
Edited by Laurence Jackson Hyman in consultation with Bernice M. Murphy

The two most revealing documents in this hefty collection of unpublished letters written by the novelist Shirley Jackson were never sent. One was addressed to her mother, and the other to her husband, Stanley Edgar Hyman. Both were written not long before Jackson died in her sleep in 1965, at the age of 48. A third important but technically unsent letter included in this volume wouldn’t have even required postage: Jackson wrote it to herself, possibly sometime in 1963. “One world is writing and one is not,” she observed, “and from the one which is not, it is not possible to understand the one which is.”

Many writers feel that the self who writes exists in a partially unknowable state, separate from the self who goes about her worldly business, talking with friends and colleagues, cooking dinner, ferrying her children around. With Jackson, the division seems especially vivid, and also tripartite, an impression that this collection, edited by her son Laurence Jackson Hyman, solidifies. She had not one but two authorial identities, and they appeared to be polar opposites. Early in her career, Jackson wrote linked, semi-fictionalized accounts of raising her four rambunctious children in the small town of North Bennington, Vt., and sold them for tidy sums to women’s magazines. The publication of these genuinely delightful, humorous pieces in a 1953 collection, “Life Among the Savages,” proved equally successful. Another book, “Raising Demons,” followed in 1957, and the income Jackson earned from her pen often outpaced Hyman’s as a staff writer for The New Yorker and a professor at Bennington College.

At the same time Jackson also regularly published more sinister, enigmatic short fiction in general-interest magazines; her most famous story, “The Lottery,” appeared in The New Yorker in 1948 and generated more reader mail than any work of fiction the magazine had ever published. Also set in a small town much like North Bennington, “The Lottery” has, in print and dramatic form, transfixed and perplexed generations of readers with its depiction of a banal rural morning that segues into ritual human sacrifice. In contrast to the bemused mom she wrote about for the women’s magazines, presiding over a house packed with kids, cats, friends and chaos, the rest of Jackson’s fictional heroines tend to be fragile, isolated girls on the brink of unraveling. Her 1954 novel, “The Bird’s Nest,” features a young woman with dissociative identity disorder, the narration including the points of view of her alternate personalities. Any hope that Jackson’s private writing might convey a more unified sense of self seems quixotic. According to her biographer, Ruth Franklin, even as a teenager Jackson “kept multiple diaries simultaneously, each with a different purpose.” ...

In researching her biography, Franklin discovered a cache of letters Jackson wrote to a fan named Jeanne Beatty, whose taste in books she shared. The two never met. It’s only in reading these letters, written between 1959 and 1963, that it becomes evident how lonely Jackson was. Her confessions and enthusiasms come gushing forth as if she were a teenager who had finally, finally found a best friend. She explains to Jeanne her struggles to craft a “sustained taut style full of images and all kinds of double meanings.” At times, these letters relax into something like stream of consciousness, her habitual lowercase prose flowing from household noises to Jackson’s protean plans for “We Have Always Lived in the Castle”: “oo let us make a orchestra cries david you bang on the wastebasket. her name is jenny. she lives with her sister constance in a big old brown house saturated with family memories and her husband lives there too; they have been married for seven years and her sister constance still calls him mr harrap. they are going to kill him because he is a boor i think.” ...

https://www.nytimes.com/2021/07/11/...son-hyman-the-letters-of-shirley-jackson.html

To mark the publication of the letters, The New Yorker has put The Lottery online.

The Lottery​

By Shirley Jackson June 18, 1948

https://www.newyorker.com/magazine/1948/06/26/the-lottery
 
Crone Wood.

A 2017 low budget mash-up of The Wicker Man and Blair Witch, with hints of Midsommer and Children of the Corn thrown in.
The old found-footage, jerky-cam technique has become something of a cliché too so, if it's originality you're after, then maybe best give this a miss.
And yet, there was something quite compelling about the creepily sensual witches, the rural Irish setting was reasonably atmospheric and there's even a catchy folk song celebrating Celticness (great to hear the Cornish get a mention) to boot.
So, whilst not a classic of the genre it does provide a few memorable scenes and, at just 86 minutes, Crone Wood just about succeeds in not overstaying its welcome.
See if you can guess the twist!
5/10.
Just come onto Prime Video.

https://www.imdb.com/title/tt5261772/
 
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https://en.wikipedia.org/wiki/The_Hole_in_the_Ground_(film) (2019)

A single mum and her son start over in a rented house by an ancient woodland. Shortly after her son goes temporarily missing in the wood the mother begins to notice that her son is acting differently. Is this a result of her recent breakup, the sleeping tablets she has been prescribed?

Sarah, (the mother), visits a neighbor played by the ever-dependable James Cosmo whose wife Norren went insane demanding that her son was an imposter.

Her son's oddities begin to mount up and... Well, I'll leave the rest.

The film is set in Ireland and perhaps could have used the countryside to better effect as the film Without Name (2016) did. The story is as old as the hills and was done quite well by a cast including the striking-looking Seana Kerslake who played the mother and the very eerie James Quinn Markey who plays the son who was also very good in the Vikings TV show.

As noted by others this isn't an original story but is a good addition to the changling horror genre. 6.5 out of 10.
 
We've decided it's high time we properly investigated the work of Ben Wheatley, starting at the beginning.

Down Terrace was first up, I had no idea what to expect but I really enjoyed it. Bonus points for it being set in Brighton and the local references such as 'trouble in Whitehawk' really added a little something for us adopted locals. The first flat I had in Brighton was a stone's throw from the real Down Terrace.

Last Saturday we watched the second instalment, Kill List. Brilliant stuff with incredible performances. Loved it.

Sightseers next.
We watched Kill List at the weekend & really liked it - seriously weird, keeps you wondering wtf is going on & why. Good performances all round & nice to see a British film. One gripe - dialogue is hard to follow as much of it is quiet/mumbly - a common issue with many films these days. You get the gist though. Sightseers still my favourite of his films I’ve seen so far.
 
Severin are releasing their WOODLANDS DARK AND DAYS BEWITCHED: A HISTORY OF FOLK HORROR documentary on Blu-Ray this December (Stateside) either alone, or part of this MONSTER boxset, complete with 20 (!) Folk Horror films...

folk.jpg


Some of these sound great... Eyes of Fire seems to be a popular one, and the Australian ones look interesting!
 
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