Fear of the body, what it can do to you and what it can become is, understandably, a major preoccupation in horror. The Body Horror shorts block explores those fears in a selection of films that take that fear to extremes.
In The Flesh
Tracey has spent enough time masturbating with the assistance of her bath tap that she has started to take notes. Those notes are seen early on, reflecting how much of her time and other life, including work, is being taken up by her hobby. One plumbing disaster later and Tracey is forced to confront the reality behind her odd situation. Many reviews have made comparisons to the leaking fluid from Titane, which is understandable in some ways, although In The Flesh is a more individualistic tale, with Tracey’s state of mind at the centre. Her anxiety spiral, demonstrated by cuts to increasingly unhinged Google search results keeps us with her throughout the runtime, an effect that allows the rest of the film to stretch into other areas and fully bring this story together. The physical and emotional are interlinked in a way perfectly expressed by the film’s take on body horror, resulting in a pretty powerful message.
Violet and Daisy’s long-time friendship is established early on within Violet Daze and the tension from their changing friendship resulting from a move is central. Daisy is keen to point out that they aren’t 8 years old anymore, but Violet is set on reaffirming their friendship, no matter the cost. This is such a skilful short in that it telegraphs its direction from the outset, yet manages to retain the tension, embracing the inevitability as another layer of horror. Director Marisa Martin drip-feeds the viewer, each moment laden with meaning and increasing dread. Bonnie Ferguson as Violet and Emma Horn as Daisy both portray their roles excellently, crucial when so much rests on their interactions.
One of the block’s shortest films is Shlop, coming in at just over two minutes long. If body horror is about finding fear and revulsion in the body, this certainly taps into that, offering ultra close-ups full of movement and squelching. Deliberately difficult to pin down, this denies narrative in favour of feeling and the drive to evoke discomfort.
A first period is a stepping stone in many coming-of-age horrors and First Blood functions as a particularly good example. Rather than feeling revulsion or unhappiness at her first period, Mia (Lauryn Sa) instead greets it with a muted, yet prepared response. That initial flatness soon wears off, however, as she finds herself increasingly curious about the process. Mixing music video aesthetics with provocative visuals that Lauryn Sa fully commits to this exploration of awakening female hunger really leaves an impression.
On a purely personal level, this film was probably the most difficult for me to watch, such is the effectiveness of what it serves up. After a tense dinner, a self-absorbed actress is invited by another woman to a mysterious club to discuss the secrets of her continued success. The sumptuous visuals draw you in before switching to ever more skin-crawlingly effective imagery. However, it is the dark playfulness of the short that keeps you engaged, toying with punchlines and upping the suspense all the way through.
Love is a Fire
Intimacy issues and a particularly vicious yeast infection present an obstacle for the couple at the centre of Love is a Fire. The couple are presented as struggling with their physical relationship, pitching Olivia’s (Celina Bernstein) desperate attempt to connect against Andrew’s (Kenny Yates) reluctance. In many films exploring the dynamic of a struggling couple, female desire is often sidelined, so it is refreshing to see it front and centre here, even when deriving horror from it. This would perhaps benefit from being slightly longer to more fully explore the couple, although both performers do well to sell their relationship in a short space of time, a little more about them would assist. However, it is the memorable effects that you’ll likely take away with you – like it or not…
Pregnancy is pretty high on the list of body horror explorations, and for good reason. It is still one of the statistically most dangerous things for a person to do, even with good medical care, so what better phenomenon to mine than that? Joy and her husband are attempting to have a baby and the process is wearing. When Joy accidentally swallows a spider, she thinks there may be another way to be a mother. By mostly adopting the bright colours and peppy soundtrack of something much lighter, Legs gradually dials up the horror until a conclusion that is genuinely unsettling.
The Body Horror shorts block screened as part of the Final Girls Berlin Film Festival 2023. Find out more about the festival at their webpage.