teenagers
There’s a strange dichotomy surrounding the films of John Hughes, both written and directed. In one sense, there have been few directors that have so understood the angst of the teenage experience. Yet, conversely, Hughes’ depiction of both race and gender are entirely at odds with his apparent insight into the teen condition.
Up-and-coming filmmaker John Carchietta has co-directed and produced several thrillers like Late Fee and The Hills Run Red. He is one of those true horror fans who really knows his stuff. But recently Carchietta proved that he can tackle multiple genres with the debut of his first solo project, a queer romantic thriller called Teenage Cocktail.
Usually I will have heard about a film before it is released. It’s odd when that doesn’t happen. It’s even odder when the film was originally released almost a year ago and I still haven’t heard about it.
Carrie is a movie inspired by one of Stephen King’s first novels, a dark story mixed with dramatic notes, where all the uncertainties and fears of adolescence, such as the problem of being different in a society that does not forgive, are transformed into anger and the desire for revenge. The movie was directed by Brian De Palma in 1976, but I believe it is a timeless story; indeed there have been many remakes, the last one in 2013 by Kimberly Peirce, setting it in a modern context. De Palma’s film, which can be considered a cult classic, shows the daily life of teenagers at an American high school and explores the theme of bullying deeply, adding some gory scenes towards the end.
Every year, we get countless reports that there isn’t enough diversity in Hollywood storytelling. In the past couple of weeks alone, GLAAD’s annual media report has shown that LGBT diversity is only visible in TV, whilst Asian-American actors have begun a protest website called “Starring John Cho”, to highlight the lack of leading roles given to people of their ethnicity. A story that needs to be told There was a line in GLAAD’s celebration of diversity in independent cinema that rung alarmingly true, as they highlighted that diverse audiences shouldn’t have to look to the arthouses for films that relate to them.