Eliana A.K.

Jean Rollin’s films blur the line between dream and death, portraying women as extravagantly spectral figures who resist definition. Through repetition, eroticism, and through decay of what is expected from female characters, his cinema mirrors writer Hélène Cixous’s écriture féminine—feminine writing. Fluid, nonlinear, drawing strength in its bark as its roots soak up all emotionality. Rollin’s female characters speak in symbols, not logic; their sensuality becomes power, not objectification. T

Alejandro Amenábar’s debut Thesis fuses horror and thriller to probe our fascination with violence. This essay explores its metafilmic nature, tracing how voyeurism and desire emerge through plot, form, and setting—offering a prophetic reflection on today’s audience.