Candy (2006)

dir. Neil Armfield

“We are the coolest people in McDonalds”

This has been one of my more criticised choices, by friends and romantic partners, who obscenely question the quality of this film. I have no time for such negativity. This film bleeds the raw, intense emotion I always needed as an adolescent girl, and it has continued to be important to me in adulthood. Candy and Dan represent to me one of the most perfectly hopeless couples in Australian cinema, of which there are many. My obsession with Monkey Grip by Helen Garner may have influenced this one, as the concept of a drug-fuelled, doomed affair of the heart is my peak of literature and cinema. This tragedy of a film is something that I find myself longing for, and the depressing reality makes it all the more beautiful. Sappily poetic, soft, ethereal cinematography and beautiful people make it all the more enjoyable. I forced my friends to watch Candy recently, high. In the second act, “Earth”, they turned to me; “please tell me they get better”.

I must mention my adoration for the opening and closing scenes. Beautifully shot and bittersweet.

The Nightingale (2018)

dir. Jennifer Kent

“Welcome to the world. Full of misery from top to bottom”.

The Nightingale, directed by The Babadook’s Jennifer Kent, brings the type of shock horror that has become a favourite genre of mine. Not for reasons of sadism, but for the deep emotional labour and psychological response it pulls. Kent exposes the true horrors that occurred Tasmania in the early invasion of Australia. Indigenous Tasmanians being hunted down in the period of The Black Line, and convicts being exploited and abused to a point of torture. This film is so raw and exposes so much evil, while being beautifully shot with a fantastic soundtrack and setting, and complex character development. Kent was right to create this damning film of colonialism in Australia, exposing the roots of the treachery and violence experienced by Indigenous people. Not only this, but the journey towards revenge was equally unflinching and horrific- Kent pulls no punches. A harrowing and shocking view, opening our eyes Birdbox-style to female trauma and colonial terror. Prepare to feel deeply disturbed and emotionally exposed, but all the better for having seen it. We love a tale of sweet retribution.

Princess Mononoke (1997)

dir. Hayao Miyazaki

“Now watch closely everyone. I’m going to show you how to kill a god.”

Delving into my childhood, we have the unbeatable and never boring Princess Mononoke. Not often do I hear of many people who prefer this to other Miyazaki classics such as Spirited Away or Howl’s Moving Castle, but to me, it is in a league of its own. In 1997, Miyazaki predicted our current capitalist doom. The intersection of stories remains so poignant. A prince sacrificing his home to free himself of a curse, a princess raised by wolves with the sole purpose of protecting her forest from humans, and a fearless and brutal female figure trying to build an empire. The main element of this film that puts it above the rest of Studio Ghibli’s collection for me is the wrestling of various branches of feminism. Between San, the warrior of the forest and protector of all things natural, and Lady Eboshi, who protects vulnerable humans at the expense of the natural world, we have two equally strong and unwavering female characters. Beyond this, this film has some of the most beautiful landscapes I have ever seen in a film, along with the signature Studio Ghibli soundtrack. This movie introduced me at a young age to the complexities behind concepts of feminism and environmentalism, which became my core values and have guided me since.

Suspiria (1977)

dir. Dario Argento

“Susie, do you know anything about… witches?”

Saving the best til last. The original Suspiria is one of those perfectly dated, completely ridiculous early horror films that a cult classic makes. Argento is a god amongst men for this era of horror, and the kitsch and camp cinematography of Suspiria make it a movie I can watch over and over again. Above all, the element that makes the original Suspiria so superior is the setting. This ballet school is one I would LOVE to get cursed and murdered in. Aesthetic! Vibes! Witches! Ballet! I have never seen such a stunning, campy setting for a horror movie and no one will ever be able to even come close to reinventing it (if you like the new one don’t come for me). The aesthetic is unbelievable. Also, every jump scare is so hilariously anticlimactic to the contemporary viewer, but therein lies the perfection! Sara jumping into that room of razor wire that is right in front of her is peak cinema. The score is also so impressive and works with the “suspense” (it is definitely so outdated) perfectly. I saw this performed at Hamer Hall with a new score composed by King Gizzard & The Lizard Wizard a couple of years ago, and was only reminded of how fantastic this film is. All hail German ballet school covens.