Amber Walker

Rosemary Woodhouse is naive. Rosemary Woodhouse is in denial. Ira Levin's seminal novel, Rosemary's Baby, [..…

The sex comedy as a genre has existed as a mound of flesh hanging from the romantic comedy, not sordid enough…

Chang's early work in particular finds its roots in performance, riot grrrl feminism and a provocative critic…

The holiday in the sun becomes a fantasy space in which neuroses are free to play. In the real world, we must…

Her films transcend the cinema screen into discourse, turning movies into moments into eventual cringing at w…

After The Hunt isn't about silence. This is a film about people who talk too much so they don't have to refle…

My favourite entries in Wood's filmography are the horror pieces [...] Each is distinct, and yet they are all…

The Canyons (2013) is a hard film to like. It has a consistent yellow and green tinge, like stagnant pool wat…

About a month ago, I saw The Shrouds (2024) in the cinema for the first time. After ruminating on it, posting…

Internet horror has continuously evolved as the average user's sense of fear has morphed with the exposure to…

[W]e've entered a uniquely distressing era of gender psychosis, only stoked and magnified by the ghouls runni…

Like most people who have encountered her, the first film I watched from Suzan Pitt was Asparagus (1979). It'…

I wish I was able to report particularly strong feelings about Babygirl (2024). Maybe I needed something deep…

The home invasion narrative is fundamentally about the perceived safety of the inner sphere and how violence …

A personal account of the way four different films cement my feelings on loneliness and perversion.

All of her films seemed to breathe the idea that women were worth telling stories about and, more importantly…

In the middle of 1975, Christine Chubbuck, a Florida-based television news reporter, made history in being th…

Hotel is very much a film where nothing happens. Despite the trappings of anticipation, there is nothing tang…

I like sex comedies in particular because they hinge on you not taking them seriously. On laughing at the mes…

The legacy of witches is an inherently gendered one. It cannot be separated from its stereotypes and from the…

I wanted to do a fully comprehensive piece on the appeal of disturbing cinema but it never really came togeth…

The way the camera is used in this movie, the way it switches from the calm of Angela's home to the queasy, f…

I think one of the most insulting parts of the biopic for me was the film's complete unwillingness to admit t…

In her second documentary feature, Violet Du Feng, along with co-director Qing Zhao, present a story of a lan…