rena weafer

“Children don’t see the world, don’t observe the world, don’t contemplate the world, but are so deeply immersed in the world that they don’t distinguish between it and their own selves.” - Karl Ove Knausgaard, Autumn

It’s a constant, subtle reminder that feminine labor, and the women performing it, are seen as both necessary and dangerous.

Mid-century and 1970s cinema portrayed hagdom as a more internal battle against suffocating domestic roles. But the modern hag’s threat is measured not just by her failure to conform, but her ability to reshape the home to reflect her presence. Where Old Hollywood dramatized internal collapse, horror today emphasizes a more external ruin. The house... See more

The film much more clearly literalizes the cultural anxiety surrounding the hag. She will come, seep the life out of you, and destroy the domestic space you once occupied. Every visual decision to dim the lights and clutter the counters emphasizes that the home is inseparable from the woman who performs its labors. And when she is absent or resiste... See more

She is the end that every woman worries about. Her body is no longer desirable, her labor no longer necessary. What is monstrous about her is simply the fact that she exists past her usefulness. Because aging, bitterness, and decline are inseparable from womanhood itself, every woman has the capacity to become monstrous, and every woman is a consta... See more