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107 minute /

Jen Soska / Sci-Fi /

1563 vote /

Sylvia Soska / Canada.

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Checking to see if any special Horror screenings were taking place over Halloween, I was thrilled to find that The Electric in Birmingham (oldest working cinema in the UK) were holding a special "Cine-Excess" event in November, which would feature a double bill of attending directors Jen and Sylvia Soska, and Norman J. Warren.
After a memorable awards ceremony where the film makers got glass trophies,one of which broke in two after it slipped out of one of the Soska's hands. I got set for a rabid remake.
View on the film:
Mentioning in the pre-screening intro that before this project had landed on their desk they had actually started looking for none-movie related jobs, due to the "gross" factor of American Mary (2012-also reviewed) putting studios (such as The CW) off from hiring them, co-writers/ with John Serge) co-directors Jen and Sylvia Soska make a welcomed return to the big screen with a blend of gory Body Horror,and the clinical body modification art of American Mary. Closely working with cinematographer Kim Derko, the Soska's brush Rose's altered face with close-ups on the excellent practical effects.
Changing the setting to the fashion industry, the Soska's & Derko stylishly use glass to reflect the pristine appearance of the fashion industry being torn to ribbons by gashes of pulpy gore seeping across the screen.
Touching on American Mary's theme of people trying to be comfortable in their own skin, the screenplay by the Soska's and Serge twirl the rapid hunger of Cronenberg's Body Horror with a wonderfully rich cynical line of the fashion industry, where Rose (a terrific, breezy Laura Vandervoort) finds herself forced to having to dress to impress, even when a excellent sound design by Paula Fairfield crunches on the consuming infection rapidly changing Rose.

Z mar twych, Via Nocturna.

1. https://saitorihi.amebaownd.com/posts/7579003