Review: Gregory Crewdson’s cinematic photography

Gregory Crewdson’s dark, atmospheric, cinematic photographs capture perfect frozen moments incorporating disconnected figures which seem to reflect the domestic and natural landscapes they inhabit; the mundane landscapes are often characterised by an eerie solitude and transformed into something otherworldy, haunting, and compelling. His photographs seem to both reveal and conceal

Reviews: Psychological horror films set in the fashion world: The Neon Demon (2016) and Helter Skelter (2012)

The Neon Demon (2016), directed by Nicolas Winding Refn, is a surreal hyper-stylised psychological horror film unveiling a dark satire of the fashion industry. Elle Fanning plays Jesse, who epitomises the trope of the pure, genuine, angelic character entering a wicked world filled with artificial, soulless, manufactured characters, and becoming

John Santerineross – neo-symbolist photographer

John Santerineross, considered a neo-symbolist photographer, creates dark, sinister, erotic imagery whilst focusing on conveying moods and evoking states of mind, an approach favoured by the symbolists in art in general. Neosymbolism explores mystical, emotional, spiritual, as well as sensual themes, the unconscious mind and dreams, metamorphoses of good and

Mira Nedyalkova’s underwater photography

A selection of artworks from the stunning, eerie underwater photography collection by Bulgarian visual artist and fine art photographer Mira Nedyalkova. Mira’s work depicts the beautiful facets of pain and sadness in fluid forms, whilst linking water with eroticism, as well as exploring the erotic in the light of the

Vampyr (1932), dir. by Carl Theodor Dreyer

“I wanted to create a waking dream on screen and show that horror is not to be found in the things around us but in our own subconscious” — Carl Theodor Dreyer about his film, Vampyr (1932) Vampyr is a hypnotic and claustrophobic mix of eerie images featuring surreal elements

Melancholia (2011) – the surreal overture

The opening sequence of Melancholia (2011, Lars von Trier), a collection of gloomy, surreal, painting-resembling, slow-motion shots, is an insidious introduction to the themes of this compelling cinematic symphony of death. What completes the eerie visual dreamscape is the exquisite, haunting piece of music by Wagner – the Prelude to

Film Review: Annihilation (2018). The Uncanny Within.

After the success of his intense directorial debut, Ex Machina, Alex Garland creates a cinematic adaptation of Jeff VanderMeer’s first book from the Southern Reach Trilogy, Annihilation. The sci-fi thriller turns out to be a visually stunning exploration into the unknown, which in this case borrows the form of the

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