Family is known idealistically as the very foundation of cognitive growth, love, and trust of those who live in your home. It's supposed to be on of the safest places you can be. But family on screen, and in horror, is an evergreen site for flipping any of these positive connotations right on their head. All families have their trials, and what if monsters are waiting to feed on the conflict? Ready to consume?


You can see them at Artboer in Atlanta, GA, encouraging patrons to "enter the 5th Wall and discover..."

If you're not quite sure what, that's the point. The message of the universe, providing us with endless possibilities if we walk into the option full of options has that cosmic, sci-fi flare. One of the reasons fans of the genre appreciate it so much. And this is what you get with The 5th Wall: a dimension full of color, comics, web series, and multiverses. With an allure of Afrofuturism, "The 5th Wall is an age old agency charged with investigating the para-dimensional activities that have shaped our world."


One dark evening, a Black hair care salon faces its biggest threat: a white female patron with a bizarre effect on some of the stylists.

Written & Directed by Mariama Diallo

There's a depth to the culturally-related grievances from Black women. From shreds have our foremothers created traditions, heritage. From our features, a truly original presence that has the globe's attention with no equitable reward. A Black woman's parts are desired, but not her full emotional form. And what ways can this be expressed? In horror and humor, filmmaker Mariama Diallo has unleashed the literal perfect balance of this message that is accessible to all.


The Brooklyn Horror Film Festival is back to satisfy our horror cravings with some of the most wildest, thoughful, and scintillating films in the genre at the moment, opening Thursday, October 11 through October 18th. HEAD TRIP, their newest film block assures you'll experience "films that push the boundaries and expectations of the horror genre" that are extremely "expansive and diverse".

One of those benders includes Cam (2018), a fabulous thriller featuring a very grown up Imani Hakim (Everybody Hates Chris) that details how much we're on the fragile brink of our digital presence manipulating reality. In a word or a few, Brooklyn Horror's films for 2018 are a conglomerate of known genre echoes from new storytellers that shatter predictability from around the globe, with a decent amount of women of color in front and behind the camera.


It is a storyteller, with an identity that's hegemonically suppressed in almost all spheres of reality and entertainment, that moves their work forward in bold strokes. With an eye on experimentation and a meditative vision, that boiling combination of queer, woman/womyn, LGBTQIA, working-class, creative industry, female-identified peoples have a limitless artistic purge that's on the cusp of the world immersing their viewing experiences in some of the most wildly imaginative narrative works they've ever seen.

Bitten, A Tragedy stands by this promise.


In the eye of a storm in rural Louisiana on the eve of a young girl's birthday, she is forced to confront her mother's bizarre behavior and come to terms with its outcome that will inevatibly affect her future.

Written & Directed by Zandashé Brown

Many of the critical scenes in 1976's Stephen King film adaptation Carrie between the title character played by Sissy Spacek and her mother, Margaret White (Piper Laurie) are lit with candles and dim tones that make the sympathetic and jarringly tense exchange between crazed, religious-fanatic of a mother and daughter who simply craves normalcy, some of the most memorable scenes in film history. Upon its multiple duplicates, in my opinion, none shine as bright at the first.


And while filmmaker Zandashé Brown is a pure original, her short Blood Runs Down echoes this similar aesthetic choice and lets her roots blossom with a detailed reflection on generational trauma amongst Black women and girls. What does that look like when its given a supernatural identity that we're forced to face? Mother Elise (Treme's Idella Johnson) and daughter Ana (Farrah Martin) highlight the intimate and ethno-astute place where black mothers and daughters often exchange emotions on growing up and the dreaded snag of a brush through tresses. As the pureness of Ana's innocence as well as her pending, highly anticipated celebration lulls you into a false sense of ease, tension builds as the score swells and the brief isolation between Elise and Ana on this stormy night unboxes a manipulative presence that whispers and hides in the shadows of their home.


Dread Nation, Justina Ireland’s young adult alternative history novel is on the New York Times bestseller list! Not only that, the book is opening a dialogue about portrayals of racial inequality, societal expectations of women, and the survival of marginalized people in the United States — what some are calling a reflection of what America is now facing. But with zombies.

So what is this young adult book all about?


"America no longer had a looming destructive force, but only Americans themselves--something that the 1990s Teen Horror Cycle would learn how to tackle."
-Alexandra West

I was the Scream 2 in-high school, one-woman, version of a street team. I would tell anyone who would listen its premiere date, I bought the Entertainment Weekly covers, as a news anchor in my video production elective, kept briefings on exclusive details at the top, bought the soundtrack, and tried to convince one of the employees at Coconuts (our local multimedia product outlet) to give me the enormous poster they used for promotion. I even, told my hairdresser to cut my hair like Neve Campbell in the film. Which she did. And I wore it proudly. Don't judge me too harshly.

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