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| Carrie White: Horror's Most Relatable Anti-Heroine | |
 “Boyhood” is inevitable, for sure. I’m not sold on “Her”, however. I loved the film, but it’s also one that doesn’t seem to have the residing emotional status to actually penetrate some kind of cultural iconography. It doesn’t help that it’s not as prevalent in modern circles as something like, say, Jonze’s “Being John Malkovich” – which I think is probably going to become the director’s most remembered. | The 21st Century Films Prepared For Classic Status |
It’s amazing, I’ve heard so much about Kiarostami throughout the years, but found myself weirdly avoiding his work. I started really getting into his work a few weeks before his passing – starting with “Close-Up” before moving onto “Where is the Friend’s Home”; the latter of which affected me deeply, and stands high as one of my favorite child films with Malle’s “Murmur of the Heart” and Panini’s “The White Balloon”. Can’t wait to explore deeper and rewatch some of the ones I saw long before I really “understood” the man. | The Cinema of Abbas Kiarostami: The Legacy Lives On |
“We see the way she sobbed in the shower after believing she was dying once her period started. We see the way she looked down at her feet when talking to her principal and her teachers. Most importantly, we see the glimmer of hope in her eyes when Tommy Ross takes her to prom, and just how naïve she becomes when she has faith that night will change her life for the better. We want her to have a happy ending, and our dreams are just as crushed as her when the blood pours down on her from up above.”
And that’s something so great about the story. The irony that it circles back on itself. That Carrie White is a representation of female sexuality at its most repressed. Her mother pushes her from it with her extremism, but there’s also the fact that we witness another female character (Nancy Allen’s) as some kind of object to the John Travolta one.
The fact that “Carrie” begins with her “blossoming” (the “Valerie and Her Week of Wonders” flower, so to speak) – and the telekinesis follows is a great touch by De Palma – whereas King had her with the powers since she was a child. Having her drenched in blood on the stage for everyone to see is the ultimate destruction of her willingness to be open. To “blossom”, with such a wonderful, surprising night with her crush. But then, it unleashes the rage of her repression.