CARRIE (1976) dir. Brian De Palma

Do you ever feel like you're narrating your own life, watching it play in front of you like an episode of television?

Brigette Lundy-Paine as Maddy I Saw the TV Glow (2024), written & directed by Jane Schoenbrun

I have, of my own free accord, elected to undergo the procedure colloquially known as severance. I give consent for my perceptual chronologies to be surgically split, separating my memories between my work life and my personal life. I acknowledge that, henceforth, my access to my memories will be spatially dictated. I will be unable to access outside recollections whilst on Lumon’s severed basement floor, nor retain work memories upon my ascent. l am aware that this alteration is comprehensive and irreversible. I make these statements freely.

Severance (2022-) 1.01 - Good News About Hell dir. Ben Stiller

LAKE MUNGO (2008)

monster (2023)

Put Your Head On My Shoulder

I Saw the TV Glow (2024)

All of Us Strangers (2023) // dir. Andrew Haigh

Raw (2016) dir. Julia Ducournau

Scottie, do you believe that someone out of the past - someone dead - can enter and take possession of a living being?

Vertigo (1958) dir. Alfred Hitchcock

shoplifters (2018)

“What transness and especially a pre-transition dysphoria actually feels like, to me at least, is much more internal and intangible. The language that I use to try to talk about it is language that I'm borrowing from the surrealism of David Lynch — the dreamlike nature of his films — or the body horror of David Cronenberg.” — JANE SCHOENBRUN, I Saw the TV Glow writer/director (x)

— We Were One Man / Nous étions un seul homme (1979) dir. Philippe Vallois — All of Us Strangers (2023) dir. Andrew Haigh

Gael García Bernal & Raul Castillo in Cassandro (2023)

"I think it’s an absolutely beautiful shot and it is very sexy, but it also speaks to their physicality, the way that they are positioned in the frame and the way that Harry is so open and comfortable–so relaxed in his position. And Adam is not. He’s less open. But it really helps the scene because what’s interesting is Harry is not necessarily as emotionally open as we think he is, and as the scene develops and we’re closer to them and he opens up about his life, there’s a contradiction there that I think is really fascinating. There’s also a certain vulnerability about the shot too. The position of Andrew’s hand is so important in making this shot what it is. The way that it’s so delicately there at the base of your stomach, which is such a vulnerable area. His hand is so gently on there, and Paul is so open to wanting that touch–that connection in this moment makes it a beautiful image." - Andrew Haigh

POSSESSION 1981 | dir. Andrzej Żuławski

The Passenger (2023)