[Editorial] Horrible Imaginings Film Festival interview with Rabia Sitabi
Ahead of the Horrible Imaginings Film Festival (HIFF), I got to sit down with Project Director Rabia Sitabi and chat about the upcoming fest. Rabia is a pop culture expert and extremely knowledgeable about international horror. (She also happens to be a contributor to Ghouls Magazine - read her collaboration with Ariel Baska reviewing Tokyo Revengers (2021)!) Rabia met HIFF Director Miguel Rodriguez, and he recruited her to work on the festival remotely. She has worked for other festivals in the past, including holding director positions, so she was an experienced pick for HIFF.
This year, Rabia is the Project Director for HIFF. Similar to a project management position, Rabia worked with the existing systems used by HIFF and put them together in one workflow. In her own words, she “untangled all the wires and braided them back up.” It has been a lot of work, but with her love for the genre and HIFF in particular, it’s been worth it. As a fellow lifelong horror fan, her story was relatable to me: she watched horror films with her family as a young kid, fell in love and never looked back! Scary stories were a part of the household. Rabia added that in the culture she grew up in, fear was not seen as unusual. Spooky stories were used to motivate children into good behavior - for example, fairy tales about demons that will get you if you don’t brush your teeth before bed. These experiences led her to her first film festival job when she was 17, and to many festival experiences since.
Rabia was able to offer a lot of input in the festival's programming this year, and she is enthusiastic about the lineup. When I asked what she was looking for when programming she said, “to be surprised.” She was looking for every movie to make her emote in different ways, so there is something for everyone. She advocated for a wide variety of films for HIFF. They had many exceptional choices, which means they also had to cut a lot of wonderful films. Rabia is part of a team of diverse programmers, so there are a lot of perspectives in the mix.
In particular, Rabia is looking forward to the short called My Religious Family (2020), and a South Korean feature called TRANS (2020). She said they are “both bonkers in completely different ways.” She is also eager for the blocks of short films, in which shorts have been grouped into themes to offer a curated experience when watched in order.
For virtual attendees of the festival this year, there will be a Discord channel to participate in, and some live-streamed events. HIFF values a community feeling, and they want to bring that community to all attendees, virtual or in-person. Rabia made the excellent point that smaller film festivals such as HIFF can give independent filmmakers their first opportunities, and continue to bring diversity in narratives to the genre. We don’t want to lose that, so it’s important to support smaller horror festivals when we can, thereby supporting the filmmakers and films. In the future, watch for HIFF to bring even more options for inclusivity and accessibility. The festival hopes to continue a worldwide reach, and bring horror to as many fans as possible.
Thanks very much to Rabia for taking the time to chat with me! I know Horrible Imaginings will be an amazing weekend!
When people think of horror films, slashers are often the first thing that comes to mind. The sub-genres also spawned a wealth of horror icons: Freddy, Jason, Michael, Chucky - characters so recognisable we’re on first name terms with them. In many ways the slasher distills the genre down to some of its fundamental parts - fear, violence and murder.
Throughout September we were looking at slasher films, and therefore we decided to cover a slasher film that could be considered as an underrated gem in the horror genre. And the perfect film for this was Franck Khalfoun’s 2012 remake of MANIAC.
In the late seventies and early eighties, one man was considered the curator of all things gore in America. During the lovingly named splatter decade, Tom Savini worked on masterpieces of blood and viscera like Dawn of the Dead (1978), a film which gained the attention of hopeful director William Lustig, a man only known for making pornography before his step into horror.
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Many of the most effective horror films involve blurring the lines between waking life and a nightmare. When women in horror are emotionally and psychologically manipulated – whether by other people or more malicious supernatural forces – viewers are pulled into their inner worlds, often left with a chilling unease and the question of where reality ends and the horror begins.
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In the sweaty summer of 1989, emerging like a monochrome migraine from the encroaching shadow of Japan’s economic crash, Shin’ya Tsukamoto’s Tetsuo: The Iron Man shocked and disgusted the (very few) audiences originally in attendance.
Whether it's the havoc wreaked on the human body during pregnancy, emotional turmoil producing tiny murderous humans or simply a body turning on its owner, body horror films tend to be shocking. But while they're full of grotesque imagery, they're also full of thoughtful premises and commentary, especially when it comes to women, trauma, and power.
The human body is a thing of wonder and amazement–the way it heals itself, regenerates certain parts and can withstand pain and suffering to extreme extents. But the human body can also be a thing of disgust and revulsion–with repugnant distortions, oozing fluids and rotting viscera.
This June we’ve been looking at originals and their remakes—and whilst we don’t always agree with horror film remakes, some of them often bring a fresh perspective to the source material. For this episode, we are looking at the remake of one of the most controversial exploitation films, The Last House on the Left (2009).
The year was 1968 and a young man named George A. Romero had shot his first film, a horror movie that would change the world of cinema and not just horror cinema, at that. Night of the Living Dead (1968), would go on to become one of the most important and famous horror films of all time as it tackled not only survival horror but also very taboo and shocking topics like cannibalism and matricide.
In the end I decided to indulge myself by picking eight of my favourite shorts, and choosing features to pair with them that would work well as a double bill. The pairs might be similar in tone, subject or style; some of the shorts are clearly influenced by their paired movie, while others predate the features.
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Now it’s time for Soho’s main 2023 event, which is presented over two weekends: a live film festival at the Whirled Cinema in Brixton, London, and an online festival a week later. Both have very rich and varied programmes (with no overlap this year), with something for every horror fan.
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A Quiet Place (2018) opens 89 days after a race of extremely sound-sensitive creatures show up on Earth, perhaps from an exterritorial source. If you make any noise, even the slightest sound, you’re likely to be pounced upon by these extremely strong and staggeringly fast creatures and suffer a brutal death.
If you like cults, sacrificial parties, and lesbian undertones then Mona Awad’s Bunny is the book for you. Samantha, a student at a prestigious art university, feels isolated from her cliquey classmates, ‘the bunnies’.
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