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my-beautiful-wickedness

TJ MIKELOGAN's HALLOWEEN HORROR 2025 EVENT

DAY 2: Horror icons (characters, actors, etc.)

Universal classic monsters

archivearts

CONCLAVE (2024) cinematography by Stéphane Fontaine

duncan-tashi

"The whole film is a jigsaw puzzle of locations in Rome and studio builds. We built the elements of the Sistine Chapel with the amazing craftsmen at Cinecittà and the rooms and corridors of the Casa Santa Marta. This film is about juxtapositions between what we think we know and what we don’t. We discussed playing with those elements to create a more dramatic visual story. Rome is beautiful with amazing ornate architecture, but it also has contemporary architecture that we decided to play with. The feminine shapes and gold, softer side were juxtaposed against hard black lines, and the whites, blues, and blacks against the gold and rich reds." — Suzie Davies, Production Designer for CONCLAVE (2024).

petaltexturedskies

Sylvia Plath, The Bell Jar

utenakun

CURE (1997) dir. Kiyoshi Kurosawa

shisasan

July 10, 1930 Journals of Anais Nin 1927-1931 [volume 4]

akiraofthefour

"No force in the world can take me from my five hundred pounds. Food, house, and clothing are mine forever. Therefore not only do effort and labour cease, but also hatred and bitterness. I need not hate any man; he cannot hurt me. I need not flatter any man; he has nothing to give me."

Virginia Woolf, A Room of One's Own

freshmoviequotes

Past Lives (2023)

cinemabywomen

Past Lives (2023, Celine Song)

msvhs-deactivated20251231

Decision to Leave/헤어질 결심, dir. Park Chan-wook (2022)

365filmsbyauroranocte

Decision to Leave (Park Chan-wook, 2022)

mohairsweater

Photo of Charlotte Wells and her father that served as a starting point for her debut feature Aftersun

“…Aftersun is a personal film. Most films are, of course, but this film more than even those most. The essence of what I have to say about that is held within the 145,440 frames on screen. This film is unmistakably fiction, but within it is a truth that is mine; a love that is mine. Photos, videos—records of different types—are enclosed in the film and so it felt appropriate to enclose one here. A photograph of my dad and of me—the starting point for this project—each a single shot because photos of us both are in short supply in that pre-selfie era. I am 10 or 11, Sophie’s age in the film. My Dad is 31 or 32, a little younger than I am now. We happen to be in Turkey.”