Previously: Chapter 2
“Change happens through movement and movement heals.”
Late June 1929. Charlottenburg, Berlin, Germany
Dore’s supper party started early that evening after Friedrich had gone. The guests arrived in huddled groups, leaning into one another on the stoop for shelter from the summer rain. First came Dore’s mother and younger sister. She could see their home-made felt cloche hats crumpled against one another through the window as she limped to open the door for them
The pair hurried inside with a grim, tight-lipped greeting for Dore. Her mother had not taken the news of her planned adventure very well. Even drenched, their hats held their bowl shape better than her own effort. She’d wanted to buy one (after all who would have known?) …
The following film rating has been determined by assigning a number, 1–5, to different elements present in any horror film. This rating system is used to accurately reflect the different component parts of a film in this genre, with the final total number not being indicative of quality.
Horror films should not be rated on the same same criteria as Schindler’s List or Call Me By Your Name. However, I can like all those movies for different reasons. It is arbitrary that one simply has a higher number assigned to it.
Instead, your friends at the Midnight Murderama Podcast have devised this rubric containing 13 elements that are specific to Horror films. …
It’s a bold move to have a straight-up devil in your horror film. It runs the risk of being too on the nose, I’d think. I’m not talking possession. Not talking demon. I’m not even saying THE DEVIL. Just a devil, no “the.” A pointy tale, pitch-fork using, red skinned, horned, devil. Bold, but Errementari: The Blacksmith and the Devil is strangely more unique and interesting in its use of cliche imagery than if it went for something less obvious.
Do we need another monster or demon with a big mouth and tiny eyes like something out of Gears of War, which seems to be the character design du jour? …