Category Archives: Peter Strickland

Dishing up Pulp Curry in a new way: why I am starting a Substack newsletter

Posted on October 26, 2023 by Andrew Nette| Leave a comment

After much thought I have decided that to experiment with moving the focus of my blogging from this site to a new Pulp Curry Substack newsletter.

Why am I doing this?

The first post on this website appeared on July 2010 (about the incredibly underrated 1979 Australian heist film, Money Movers – you can read the post here). I’ve been writing on the site with varying frequency ever since (579 posts in all), and for the most part have enjoyed it immensely.

But for the last 12 or so months I just haven’t been feeling it – or getting the hits to make it seem worthwhile – and have started to wonder whether it’s worth continuing with the effort. Posting on a website has been starting to feel like the equivalent of trying to read a broadsheet newspaper in a crowded tram carriage, unwieldy and inconvenient.

And, thinking about it, I suspect the blog format is starting to get a bit stale for me and is actually now a brake on my posting more regularly.

I know that I’m no Robinson Crusoe in this regard. The majority of the blogs I used to follow have gradually fallen by the wayside, as people have moved on, grown weary of the effort, found other interests, adopted other means to get their message out, or, in some cases (gulp), died.… Read more

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Suspiria, giallo cinema & the lure of the sensory: An interview with Alexandra Heller-Nicholas

Posted on May 9, 2016 by Andrew Nette| 1 Comment

Suspiria 3Alexandra Heller-Nicholas is a Melbourne-based film critic and academic, specialising in cult, exploitation and horror film. Her books include Rape-Revenge Films: A Critical Study, Found Footage Horror Films: Fear and the Appearance of Reality, and most recently Suspiria, on Italian director Dario Argento’s 1977 film of the same. Alex kindly agreed to talk to me about her new book, the phenomena of witches in film and the ongoing fascination with giallo cinema. And a warning, unless your film collection is as good as hers, it will be hard for you to get through the following interview without making a lengthy list of films you’ll want to locate and purchase.

Drink-&-CameraAlex, You open the book with a playful but terrific quote from US film critic Joe Bob Briggs, that Suspiria is ‘the Gone With the Wind of Eyetalian horror’. You call it ‘one of the most breathtaking instances of the modern horror film’. Why is Suspiria such an important movie, not just in the context of Italian film cinema but horror cinema, generally?

If you forgive my turn to the colloquial, Suspiria is at its very core a film that sincerely does not give a fuck about what a film is ‘supposed’ to be: this manifests in a spirit of true experimentalism, a genuine love of ‘art’ both as a general concept and the very materiality of cinema itself.… Read more

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Posted in Giallo cinema, Horror, Peter Strickland

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MIFF report back #1: The Duke of Burgundy

Posted on August 2, 2015 by Andrew Nette| Leave a comment

DukeofBurgundyFilmPage

I watched Peter Strickland’s latest offering, The Duke of Burgundy, already being a big fan of his 2012 effort, Berberian Sound Studio. I appreciated Berberian Sound Studio as an homage to the Italian giallo horror films of the seventies and didn’t need any more encouragement to see his new one other than the fact it was Strickland’s tribute to the seventies Euro sleaze films of directors like Jesse Franco and Walerian Borowczyk.

But it wasn’t until about twenty minutes in to The Duke of Burgundy, that I felt I ‘got’ what both movies were trying to do and just how clever Strickland’s approach is.

The Duke of Burgundy is about the BDSM relationship between two female entomologists, Evelyn (Chiara D’Anna), the submissive, and her older dominant lover, Cynthia (Sidse Babett Knudsen, who you may recognise from the Danish television series, Borgen). The story is set in an unspecified provincial European town in what looks like the seventies and, as you’d expect if you’ve seen Berberian Sound Studio, Strickland nails every aspect of recreating the genre: the aesthete, the soundtrack, the surrealistic ambiance, how the characters feel and react, the sex, which alternatives between being outright smutty and languorously erotic. Woven into this are some wonderfully deft touches, including the complete absence of men and the strange, sexually charged club in which women get together to discuss matters entomological.… Read more

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Posted in Horror, Melbourne International Film Festival, Peter Strickland

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