The Final Girls Berlin Film Fest took place between February 6 – 9, 2020 at City Kino Wedding offering a sensational line up of horror features, horror shorts and horror talks. We where lucky enough to hear to some of the amazing people taking part including filmmaker Laura Moss.
Laura is a Director and Production Designer from New York City. She was named one of Filmmaker Magazine’s 25 New Faces Of Independent Film, an IFP Emerging Storyteller. Her work has screened at Tribeca, SXSW, Rotterdam, Sundance and Cannes. She was a fellow at the 2020 Sundance Screenwriting Labs with her feature screenplay ‘Birth/Rebirth’, an all-female modern day redux of the Frankenstein story.
Her film NEUROTICA EPISODE 1: EUREKA! staring Karen Gillan, Jon Bass and Jillian Bell played at the festival and detailed a chronic procrastinator who meets an otherworldly being responsible for giving humanity its great ideas.
Below Laura talks about her favourite horror film Serial Mom:
“Serial Mom is my mother’s favorite movie and John Waters says it’s his mother’s favorite as well (she may be biased). There are so many things on the surface that are delightful about the film: Kathleen Turner’s manic performance, the poppy colors and cloying decor of suburban Baltimore, L7 performing an entire song and then setting a guy on fire — but there is a lot more going on under the surface.
‘Serial Mom’, Beverly Sutphin, is a terrifying chameleon. Like many serial killers before her, she has found ways to use societal blind spots to satisfy her murderous urges without being caught. And as a woman, she has learned to operate in plain sight using the tools of her own oppression to her advantage. She operates without a philosophy, joyfully mocking and manipulating a system designed to bring her down. She really does manage to have it all: a loving family, a spotless home, and a personal passion that just happens to involve terrorizing and murdering her neighbors.
But the message of the film extends beyond a takedown of 1950s social mores, it also champions those of us who from a young age have found ourselves obsessed with the horror genre. I saw myself in Beverly’s son Chip (Matthew Lillard), who works at a video store reminiscent of the long-lost NYC staple Kim’s Video, specializing in cult and vintage horror films. He’s actually a sweet kid — he’s sensitive, has a loving relationship with his girlfriend and his mother — he also just happens to have an obsession with gore. Waters does the deliberate and important work of disassociating a fascination with the macabre from moral failure. One does not presuppose the other, even if Serial Mom herself has an autographed photo of Richard Speck.
This is my go-to 90s nostalgia film, a true heartwarmer, and a great introduction for folks who are new to John Waters’ catalogue. It’s also an important cautionary tale about wearing white shoes after Labor Day.”