Matchbox Cine is bringing renowned author, programmer and film-maker Kier-La Janisse to the UK for a series of events to mark the 10th anniversary, expanded edition of her seminal book House of Psychotic Women (FAB Press). Starting at Matchbox Cine’s Weird Weekend festival in Glasgow on 29/10, the tour will stop in Edinburgh, Nottingham, Sheffield, Manchester, Cardiff and London, 31/10 to 05/11.
Matchbox Cine has partnered with the UK’s major genre festivals and exhibitors to co-present each stop, including Dead by Dawn, Mayhem Film Festival, Grimmfest, Abertoir and The Final Girls. At each stop, Kier-La Janisse will introduce a film featured in her book, sign books and take part in a Q&A or In-Conversation hosted by a special guest. Guest hosts include Anna Bogutskaya (The Final Girls), Christina Newland (She Found It at the Movies,) and Alice Lowe (Prevenge).
10 years ago, Kier-La Janisse published HOUSE OF PSYCHOTIC WOMEN, subtitled an “autobiographical topography of female neurosis in horror and exploitation films”. A ground-breaking mix of keen critical analysis and clear-eyed, thoroughly compelling memoir, Janisse’s influential tome inspired a generation of critics, programmers and film-makers. The book has also played no small role in canonising a range of obscure, fringe and forgotten genre titles, many now considered essential.
Titles screened at the various stops will include new restorations of Claude D’Anna’s Tromple l’oeil (1975), Giuseppe Patroni Griffi’s Identikit AKA The Driver’s Seat (1974, starring Elizabeth Taylor and Andy Warhol, based on Muriel Spark’s novel) and Polish vampire curio I Like Bats(1986); rare outings for Don Siegel’s Clint Eastwood starrer The Beguiled (1971), David Cronenberg’s The Brood (1979) and Robert Wise’s Shirley Jackson adaptation The Haunting(1963); Alice Lowe’s Prevenge(with the director in attendance); and Andrzej Żuławski’s remarkable study in eldritch hysteria, Possession(1981).
The entire tour will feature descriptive subtitles/SDH and live captions, to ensure the events are accessible to as many people as possible.
Kier-La Janisse is a film writer, programmer, producer and founder of The Miskatonic Institute of Horror Studies. She is the author of House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (2012), A Violent Professional: The Films of Luciano Rossi (2007), and has been an editor on numerous books including Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive (2021), Yuletide Terror: Christmas Horror on Film and Television (2017) and Satanic Panic: Pop-Cultural Paranoia in the 1980s (2015). She was a producer on David Gregory’s Tales of the Uncanny (2020) and wrote, directed and produced the award-winning documentary Woodlands Dark and Days Bewitched: A History of Folk Horror (2021)for Severin Films, where she is a producer and editor of supplemental features. She is currently at work on several books including a monograph about Monte Hellman’s Cockfighter.
The programme is presented by Matchbox Cine as part of In Dreams Are Monsters: A Season of Horror Films, a UK-wide film season supported by the National Lottery and BFI Film Audience Network.indreamsaremonsters.co.uk
In 2019, we produced three festivals (one of which gained international viral fame), screened 43 feature-length films and 31 short films, hosted 13 guests, 4 drag performers, 2 live bands, co-programmed 14 collaborative screenings, embraced the sliding scale ticketing system, started open-captioning all our screenings, launched a subtitling arm providing HOH subtitles for several festivals and other exhibitors and co-ordinated a month-long season of films across Glasgow and Scotland. Through it all, we had the best audiences and an amazing support network of colleagues, collaborators and peers. Particularly, the support and enthusiasm from our friends at Film Hub Scotland set us up to deliver what is beyond a doubt our busiest programme yet. Here’s our ridiculous year in pictures, month-by-month.
Cage-a-rama 2: Cage Uncaged | We started the year with our second annual Nicolas Cage film festival, opening with Mandy and a Q&A with Cheddar Goblin creators Casper Kelly and Shane Morton. Mom & Dad director Brian Taylor joined us via Skype on Saturday evening and we closed the weekend with the UK premiere of the truly special Between Worlds, a still-unsung and underrated entry in the Cage canon. Despite being described in some quarters as “the new The Room“, it was thoroughly enjoyable and a good time was had by all.
Auld Lang Vine #RIPVine | In mourning of everyone’s favourite six-second video platform, we hosted a fitting funeral, including drag homage by Puke, live music by Joyce Delaney and 500+ Vines curated by Pilot Light TV Festival. This was an event of firsts, including our first use of the sliding scale ticket price and our first ever spontaneous modern-day lighter waving. Part of the #BFIComedy season.
Two Weirds Is Too Weird @GSFF19 | In March, we joined forces with Glasgow Short Film Festival to curate a night of short films made by Alice Lowe & Jacqueline Wright under the Jackal Films banner, featuring feline erotica, courtly necrophilia and bird women. Jacqueline, who’s now based in the US, very kindly recorded us a special introduction for the event. This was also our first collaboration with fantastic photographer Ingrid Mur, who documented our events for the rest of 2019.
Shogun Assassin with Venom Mob Film Club | This was Venom Mob Film Club’s first screening, and the first of our 2019 co-screenings supported by Film Hub Scotland. Johnny and Chuck programmed one of our favourites and served it up with a special menu of vegan ramen. Venom Mob have since done a bunch more screenings themselves, and they’ve all been great.
KeanuCon | Megan: Viral fame unexpectantly struck us this year as the internet caught wind of the world’s first Keanu Reeves film festival (less than a week before the already sold-out festival), yet we remain humble.
Megan: The festival was wyld regardless of the coverage, we had contributions from Alex Winter, Bill & Ted writer Ed Solomon, Man of Tai Chi star Tiger Chen, authors Kitty Curran & Karissa Zageris and My Own Private Idaho aficianado Claire Biddles. The weekened climaxed with a live performance from Wyld Stallyns, a Glasgow supergroup who absolutely nailed it. And, of course, we had lots of Keanu films, 11 in total, including his first appearance on film, in a National Film Board of Canada short. The weekend was full of Keanu love and great energy from the audience, we can’t wait to do it again in 2020!
Under the Cherry Moon with Backseat Bingo | Our next team-up of the year was with the brilliant Backseat Bingo, returning from a long absence. It was only fitting that programmer Casci Ritchie, who is also an academic expert on His Royal Badness, present this lesser known Prince classic on his birthday. Casci introduced the film with an illustrated talk on Prince’s fashion, from erotic sportswear to the classic trench coat.
Cage-a-rama 3D @ EIFF | What could be better than Cage? Cage in 3D! Senior programmer Niall Grieg Fulton invited us to collaborate on this special event at this year’s Edinburgh International Film Festival. After Cage-a-rama 2 (and our 2018 pop-up, The World’s Greatest 3D Film Club at Nice N Sleazy), Cage-a-rama 3D was the logical next step. EIFF’s team sourced beautiful 3D prints and footed the bill for an incredible top-of-the-range 3D system (the glasses need re-charged after every screening). Drive Angry and Ghost Rider: Spirit of Vengeance have never looked better – and we got to commission another incredible illustration from Vero Navarro!
Der Fan with Sad Girl Cinema | As part of BFI’s Film Feels: Obsession season, we co-programmed ’80s thirsty cult slasher Der Fan, along with a topical panel on obsession, thirst and fandom, featuring Bethany Rose Lamont (Sad Girl Cinema), Liz Murphy (artist), Jamie Dunn (The Skinny) and chaired by Claire Biddles (Sad Girl Cinema).
#SubtitledCinema | This was the year we committed to switching on the subtitles for every screening we do. We believe in accessibility and inclusion and though there’s lots of things we can’t do because we don’t have the budget or the time (there’s still just the two of us running Matchox), we realised if we could do it, we should. The other side of the coin is that since we aim to screen films that you can’t see elsewhere and often it’s the first, the first in a very long time, or somehow the only time you’ll be able to see these films, particularly on the big screen, we want to make sure as many people can see them as possible. Underpinning all that is the fact that we’re also professional subtitlers, with over a decade experience in subtitling for D/deaf audiences, so this year we put two and two together and started a subtitling arm to Matchbox. Since we started, alongside our own programming, we’ve produced subtitle files for festivals (GSFF, GFF, Take One Action, Document), film industry events (Film Hub Scotland’s EIFF Industry Days and This Way Up), new films (Super November, Her Century, Women Make Film) and creators (Ctrl Shift Face’s ongoing series of deepfake clips).
Sing-along SAW with Pity Party Film Club | In 2018, we launched the Scalarama Scotland programme with Polyester in Odorama, a scratch ‘n’ sniff event that also featured live drag performers and a very special ring girl in Puke, who, in lieu of on-screen prompts, let everyone know when to rub ‘n’ snort the special Odorama cards. We wanted to top it this year, so we teamed up with our pals Pity Party Film Club to come up with Sing-along SAW – a screening of the classic modern horror, interpolated with live drag acts inspired by key scenes. Highlights included Billy circling the audience on a People Make Glasgow bike and Frans Gender’s out-on-a-limb rendition of Kenny Loggins’ Footloose.
Nothing Lasts Forever on 35mm | Tom Schiller’s Nothing Lasts Forever has been on our list since we started showing films. Never released on VHS, DVD, VOD or streaming, since its scarce first screenings, it’s only been seen via TV broadcast once in a blue moon (not in the UK since Alex Cox introduced it on Moviedrome in 1994). When we realised Park Circus could authorise a 35mm screening, we knew we had to make it happen, and it was the perfect opening film for Weird Weekend. And though it was challenging (the only way to see the theatrical cut, and therefore prepare, is with the 35mm print), we even figured out how to screen it with subtitles.
Weird Weekend | One of our proudest moments this year, our second annual cult film festival was the first festival we’ve done with the sliding scale ticketing scheme, the first fully subtitled and we also had a 50/50 F-rated programme, meaning half the films were directed by women. Besides all of that, Weird Weekend represents our core programming: outcasts, orphans and outliers – the oddball and often lost classics that deserve to be better seen. Programming, producing, promoting and delivering it this year was thrilling and challenging and exhausting and rewarding. Highlights for us were hosting deepfake auteur Ctrl Shift Face (who came to take part in our Weird World of Deepfakes panel, debuted a brand-new clip and provided his back catalogue for a feature-length retrospective); screening Věra Chytilová’s rarely-seen Vlci Bouda; bringing the mighty Vibrations to a Glasgow audience; and, of course, hosting a Skype Q&A with the one and only Joe Dante, who also allowed us to screen the workprint of The ‘Burbs, complete with alternative ending, extended and missing scenes and even more Morricone needle drops. Subtitling/captioning most of the programme from scratch was another proud moment, if exhausting, and we can’t wait to do it all bigger and better again in 2020.
Scalarama 2019 | This year, we took a new approach to coordinating the monthly Scalarama meetings leading up to the full DIY season in September. We wanted to make the meetings more practically useful for people looking to start screening films, as well as for people with a little more experience. Every month from March, we invited two guest speakers to present on different aspects of putting on films, and then make an opportunity for attendees to ask questions and share their own perspectives. When our programme was launched in August, we had our busiest ever programme in Glasgow, as well as more and more activity in Edinburgh, the Highlands and Islands and all across Scotland.
Kaleidoscopic Realms | Megan: This was probably my favourite screening of the year, if I’m allowed to say that? Our programme was a mix of Toshio Matsumoto and Nobuhiro Aihara shorts sourced from the Post War Japan Moving Image Archive and two shorts by Naoto Yamakawa, supplied us to by the director. This was a mini-time capsule of experimental shorts of the ’70s & ’80s, and just the beginning of our experimental Japanese programming, which you’ll see more of in 2020.
Seahorse with Freddy McConnell | Our first co-screening with Queer Classics brought Jeanie Finlay’s then brand-new documentary Seahorse to Glasgow. Seahorse intimately explores Freddy McConnell’s pregnancy journey as a trans man. Freddy even came along to chat with the audience about his experiences, and got confused when asked about his ‘wean’!
Gregg Araki’s Teen Apocalypse Trilogy with Diet Soda Cineclub | For the first time ever, we didn’t attend our own event, a co-screening triple bill of Totally Fucked Up, The Doom Generation and Nowhere. We had been invited to curate a panel on #SubtitledCinema at one of Independent Cinema Office’s regular Screening Days events, so while we prepared well (including producing all-new subtitles for all three films), we had to be at Nottingham’s Broadway Cinema when the event started in Glasgow. We left delivery of the event in the very capable hands of our co-programmer, Sarah Nisbet of Diet Soda Cineclub. Gregg Araki’s specially recorded introduction (filmed during a burger joint reunion with the cast of Kaboom) arrived practically at the last second, but it was worth the wait.
Best of Final Girls Berlin | Ain’t no horror like women-made horror, and Final Girls Berlin have the best of it. We brought the frights, anxiety and terror of FGBFF right to Glasgow with a showcase of the best short horror films from their festival, made by women from around the world. And if you liked this team-up, keep an eye out for their festival programme announcement in January 2020 😉
City of Lost Souls with Sgàire Wood | As part of BFI Musicals season, we brought a bit more of Berlin to Glasgow via ’80s trans punk musical City of Lost Souls. As if this film didn’t have it all already we also comissioned Sgàire Wood to produce a new performance to introduce the screening. We love this film, which challenges expected representation of queer communites, and is just a great odd-ball film all round.
Dial Code: Santa Claus & Secret Santa Party with Backseat Bingo | Our 43rd film of 2019, and our last, is another team up with Backseat Bingo. We wanted to celebrate Christmas with our audiences and our film exhibiton pals so what better than an ’80s action horror featuring a 9-year-old with a mullet and a super creepy Santa? Plus Secret Santa in aid of Refuweegee, and an additional surprise festive screening to finish!
Keep up to date with our 2020 events by signing up to our mailing list, here, or find our events on Facebook here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
Following our Glasgow Short Film Festival retrospective programme, Two Weirds Is Too Weird: The Jackal Films of Alice Lowe & Jacqueline Wright, director Jacqueline Wright has very kindly allowed us to host The Making Of Stiffy, a behind the scenes look at her 2005 short, written by and starring Alice Lowe. Watch it now, with descriptive subtitles, on our Facebook page.
We’re thrilled to be teaming up with Glasgow Short Film Festival for the first time with Two Weirds Is Too Weird: The Jackal Films of Alice Lowe and Jacqueline Wright. As huge fans of Alice, British comedy and GSFF, this is a very exciting development.
Before Alice Lowe wrote, directed and starred in Prevenge, the triple-threat-to-be teamed with director Jacqueline Wright on a series of strange and hilarious shorts. As Lowe has explained, “Being a woman is weird, and you’re allowed one weird. Being surreal is two weirds, and you’re not allowed two weirds… Two weirds is too weird.” With feline erotica, courtly necrophilia and aspiring mermaids, under their Jackal Films banner the two struck a path for themselves through a restrictive culture.
If we only knew Alice from her cameo as David Bowie in Snuff Box (“man was built but from clay”), we’d be over the moon to be programming this feature-length retrospective of rarely-screened shorts (mostly from 2005-2010). But then there’s her roles in Garth Marenghi’s Darkplace, Black Mountain Poets, Adult Life Skills, Sightseers, the latter of which she also co-wrote, innumerable cameo appearances (including, most recently, Black Mirror: Bandersnatch) and two series of her BBC Radio 4 sketch show, Alice’s Wunderland. And, of course, that incredible directorial debut, Prevenge.
The shorts made in collaboration with Jacqueline Wright are typically Loweian. There’s parody music videos, melodramatic pastiche and character-based vignettes, where Lowe and her cavalcade of co-stars (plenty of familiar faces) really get to shine. In tone, performance and quality these shorts do prefigure Prevenge and of course they’re part of a rich lineage of short form and sketch comedy. But they also stand alone as exemplars of women-driven creativity, ingenuity and productivity – and glorious, multi-faceted weirdness.
Two Weirds Is Too Weird: The Jackal Films of Alice Lowe and Jacqueline Wright takes place at Centre for Contemporary Arts, Glasgow, Friday 15th March at 9pm. Tickets are on sale here.
GSFF have launched their full 2019 programme – read all about it here, or browse their brochure here.