The Assistant is a film that provokes a visceral physical reaction; the churning of the stomach, the gritting of the teeth, the white-knuckle gripping of a seat edge. It has malevolent monsters and horrified victims, and hums with a palpable sense of threat. It is, without doubt, a horror movie. Yet, while writer/director Kitty Green’s sensitively-made yet hard-hitting feature debut plays out in a dark, cold world full of secrets, lies and isolation, hers is no nightmarish fantasy landscape. Instead, she deftly — and devastatingly — lays bare the all-too-familiar fears that come with being made to feel like a voiceless, helpless, insignificant woman in an aggressively male environment.
The Rider (2017)
For all its longevity and tradition, the western is a genre that responds well to reinvention. Daniel Barber’s The Keeping Room (2014), for example, is among the handful to be told from the female experience, while Patrick Hughes’ Red Hill (2010) is one of many to transplant the template to modern times and other countries. And while Chinese-born writer/director Chloe Zhao hasn’t attempted to turn the genre entirely on its head, her sophomore feature The Rider does reshape the traditional cowboy narrative in a way that both embraces and challenges western tropes.
Monsters prowl the English countryside in Beast and although they may be of the human variety, their bite is no less savage. In this blistering feature debut from award-winning short filmmaker Michael Pearce, fairy tale romance and horrific true crime collide over the course of one sweltering Jersey summer and, for flame-haired protagonist Moll (Jessie Buckley), life will never be the same again.