Canadian film scholar Kier-La Janisse (pictured, below) paints an unforgettable portrait of international cinema’s most deranged and driven female leads in her landmark book, House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. Ahead of her highly-anticipated appearance at Monster Fest 2013, SCREEN-SPACE examines our six favourite, most fascinating performances from the 202 featured in her immense and compelling semi-autobiographical work…
ISABELLE ADJANI in POSSESSION (Dir: Andrzej Zulawski; 1981)
When she agreed to star in Polish director Andrrzej Zulawski’s blood-soaked tale of infidelity, Isabelle Adjani (pictured, right) was the most beautiful, popular actress in French cinema. But she would prove her fearless approach to her craft in the role of Anna/Helen, a woman betraying her husband (Sam Neill) with what may be an otherworldly creature capable of horrific acts.
“Adjani’s performance reaches a crescendo as she seems to literally bounce off the walls, screaming and yelping, as white liquid (pours) from her orifices.“ – Sound on Sight
DESIREE NOSBUSCH in TRANCE (DER FAN) (Dir: Eckhardt Schmidt; 1982)
Predating the new millenium’s increasingly dark infatuation with celebrity is Eckhardt Schmidt’s study of Simone, a displaced, anti-social teen whose fatalistic love for pop-star ‘R’ knows no moral or physical boundaries. As Simone, Desiree Nosbusch captures the mentality and flesh-&-blood manifestation of fetishistic obsession in a star-making yet deeply disturbing performance.
“Desiree Nosbuch gives one of the most disturbing performances in horror movie history; the nature of the crime she commits is beyond shocking, especially for the age of the character.” – Hayley’s Horror Reviews
DAGMAR LASSANDER in THE LAUGHING WOMAN (FEMINA RIDENS) (Dir: Piero Schivazappa; 1969)
A shattering account of male sexual domination and the retribution dished-out by a woman who would stand for it no longer, this odd but engrossing relic from the early days of the militant feminist movement features Dagmar Lassander pictured, left) as the abused journalist Maria in one of her many stridently sexual performances.
“The rush of insight makes us realise that Maria is not a victim in yet another cheesy chauvinistic exploitation flick, but a strong, determined predator with a very obvious agenda that she is following in a splendid genre piece” – CiNEZiLLA.
JOSIE HO in DREAM HOME (Dir: Pang Ho-Cheung; 2010)
Drenched in as much modern social satire as it is the blood of not-so-innocents, Josie Ho is a revelation as Cheng Lai-Sheung, an increasingly downtrodden Hong Kong wallflower who takes it upon herself to make vacant the apartment she’ll do anything to own.
“Josie Ho’s everyday loveliness is dangerously winning; whilst indulging in the carnage, her expression indicates she is focussed on her goals, not her actions.” – SBS Film.
MYLENE JAMPANOI and MORJANA ALAOUI in MARTYRS (Dir: Pascal Laugier; 2008)
As the two friends who seek cold-blooded revenge for and a deeper understanding of their imprisonment and torture, Mylene Jampanoi and Morjana Alaoui (pictured, left) endure unspeakable acts in the name of Pascal Laugier’s gruelling but grandly spiritual masterpiece. The best European horror film of the last decade.
“The acting and endurance on display by the two leads is, at times, amazing and commendable.” – Film School Rejects.
MICHELLE VALLEY and MEREDYTH HEROLD in SINGAPORE SLING (Dir: Nikos Nikolaidis; 1990)
A loner searching for his true-love is forced into a sex-slave role by a mother and daughter team for whom any debauched act is just another hedonistic urge fulfilled. Labelled ‘unwatchable filth’ by some, ‘a masterpiece’ by others, Greece’s enfant terrible Nikolaidis films in sumptuous monochrome, but it is Michelle Valley (as the mum) and Meredyth Herold (as her offspring) who steal the show.
“No taboo is left unbroken as the film contorts itself into an explicit orgiastic nightmare of role-playing, degradation and fetishism.” – Time Out.