F&F Vol. 5 - LOVE & DEATH & THIRST
Editor’s Notes/Prologue:
Among the other brilliant articles, this issue contains three of my own essays of three different lengths and styles on three important men in my life: Galen Howard, Joshua Burge, and my partner, Caleb Quinn. What can I say? I was moved to be as candid as humanly possible by Brianna Zigler’s incredibly personal and touching essay on Bill Hader and Barry. Other factors, like my friendship with the incomparable Kier-La Janisse—who wrote the bible of confessional cinema criticism for f*cked up females everywhere: House of Psychotic Women—cemented my decision to finally publish these pieces.
The other work in the issue—particularly that of Soham Gadre and Addison Peacock—further compliments the themes explored in my personal writing: mainly, power play in relationships, complicated desire, Dominance and submission, humiliation, and the right of a woman to be as angry, savage, monstrous and foolish as her male peers.
We are gathered here today to talk about love & death & thirst. It’s not gonna be pretty, but let us begin.
xoxo - Danica
“But even if you love them—not for their fame or their work—but them as individuals, when they’re raw and unguarded and not “on” or in performance mode, when their insecurities seep out after failed auditions and roles lost, when they injure themselves on shoots and reveal themselves to be normal and mortal and human and flawed and vulnerable, the Peter Pan-ish/Lost Boy manchildren that they are—they will never love you. Because you’re only one person. And what a star loves even more than the adulation of one is the adulation of many. What an actor loves more than role play in bed is a recurring sitcom role, an edgy breakout part in an indie by some wunderkind director, anything that leads to more work, more fans. You were just a diversion. You’ll be the one they blame […].”
“When I watch Barry, I want to fuck him, and when he wrestles his trauma and the conflicting nature of his self with the good person he wants to become, I want to be the one to help him through it.”
“Women are not pretty porcelain dolls or wide-eyed vacant sex toys. Women are hair and teeth, sharp edges and hunger, are pain and survival. We’re here, we’re gross. Get used to it.”
“In astrology, the 8th House is often called The House of Sex, Death, and Rebirth. It's the second of the transpersonal houses, building upon Libra's/the 7th House's focus on relationships, marriage, and partnership. It's the moment when two become one, fusing together in a consummation of the Alchemical Marriage, when we cease to be merely ourselves and become a part of a greater whole.”
Performance Anxiety: RELAXER, CAM and the Humiliation of the Submissive Subject as Object
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“Being free is being alone?” asks Héloïse. Yes and no, the film seems to answer: as queer women living in 1700s France, society requires them to live a lie (at least partly – they’re not able to express their sexual preferences to the world). However, by opening up to each other, their story truly captures the heady days of early love, their simmering passion and longing as undefeatable as the waves crashing into the cliffs.
“Using montage quite liberally, Strickland pieces together Cynthia and Evelyn’s roles in each other’s lives through actions and words which taunt and tease. Evelyn sheepishly trots around scrubbing and cleaning the large home, occassionally being bossed rudely by Cynthia. The next minute she stares paralyzed by the sexuality of Evelyn’s undergarments soaking in soap. At night, they make love. In between all this, there are lectures on moths.”
Not Your Mother’s IG Food Porn: Sexy Food Scenes in Cinema
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On Jensen Ackles
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Love at the Edge of a Knife: Amour Fou in Film
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Black Death: Marcel Camus’ BLACK ORPHEUS
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The Glittering Guttersnipe Groupie, The Goddess Of Death: SID AND NANCY's Tragic Seduction
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