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Recent Articles

‘Maybe the Next One, Darling.’ CRASH (1996) at 30 and the Body That Wants to Become
Essays and Articles

‘Maybe the Next One, Darling.’ CRASH (1996) at 30 and the Body That Wants to Become

May 26, 2026May 28, 2026
Interference Films presents MANIAC COP (1988)
Event Coverage

Interference Films presents MANIAC COP (1988)

May 21, 2026May 22, 2026
Forbidden Worlds Film Festival: The Monster as Trial, The Monster as Control – DRAGONSLAYER (1981) & BROTHERHOOD OF THE WOLF (2001)
Event Coverage

Forbidden Worlds Film Festival: The Monster as Trial, The Monster as Control – DRAGONSLAYER (1981) & BROTHERHOOD OF THE WOLF (2001)

May 18, 2026May 18, 2026
Forbidden Worlds Film Festival: Weapons, Witchery and Women in Fantasy & THE BRIDE WITH WHITE HAIR (1993)
Event Coverage

Forbidden Worlds Film Festival: Weapons, Witchery and Women in Fantasy & THE BRIDE WITH WHITE HAIR (1993)

May 15, 2026May 28, 2026
Bigger Than Life, Manchester presents EXOTICA (1994)
Event Coverage

Bigger Than Life, Manchester presents EXOTICA (1994)

May 11, 2026
The Forgotten Women of the French New Wave
Essays and Articles

The Forgotten Women of the French New Wave

May 5, 2026

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Our Article Spotlight (May ’26)

Women Within the Uncanny Valley: The Films of ‘Uncanny Sally’ at The Rio Cinema, London
Event Coverage

Women Within the Uncanny Valley: The Films of ‘Uncanny Sally’ at The Rio Cinema, London

February 10, 2026
DIABOLIQUE (1955) at 70: Queer-coded Anxiety & Heteronormative Deception
Essays and Articles

DIABOLIQUE (1955) at 70: Queer-coded Anxiety & Heteronormative Deception

January 3, 2026January 5, 2026
Dead Duck Cult Film Festival 2025: New French Extremity – Review and deep dive into the films
Event Coverage

Dead Duck Cult Film Festival 2025: New French Extremity – Review and deep dive into the films

November 20, 2025November 20, 2025

Culture Film Publication is the UK’s new home for cult and genre film. Made by film lovers, for film lovers.

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“Cult films last forever.”

Bruce Campbell

As Cannes Film Festival 2026 has come to a close, we’d like to celebrate 30 years since Canadian auteur David Cronenberg’s infamous premiere of controversial masterclass of filmmmaking, CRASH (1996). Contributor Adam Page explores the film’s artistically reductive reception and smear campaigns, and J. G. Ballard’s powerful source material which informs the film’s presentation of what humans are accelerating towards - a ‘becoming’ of the new body and its’ sexuality enabled by our relationship with technology. “You have the right to remain silent… Forever!”Contributor Laura Barnes returns with Interference Films’ (@interferencefilms) presentation of cult classic, William Lustig’s slasher MANIAC COP (1988) at Cultplex, Manchester @cpxmcr! The irreverent picture inspired “unrestrained and infectious” laughter from the audience at its classic one liners and camp silliness. Laura explores the film itself and its presentation of authority, and what earns the film its iconic place within B-movie history. Contributor Zak Coates (@zak_the_crack) attends Forbidden Worlds Film Festival (@fwfilmfestival) and notes on the fantasy film’s most iconic challenge: the monster. Covering DRAGONSLAYER (1981) and BROTHERHOOD OF THE WOLF (2001), he writes about how the films’ mythology can explore political corruption and joyous adventure while noting on the festival’s wonderful community atmosphere. Culture returns to @fwfilmfestival this spring! Here, culture founder @issycharliedennis attends their Women in Fantasy panel featuring @sapphic_scholar and @heleno84, hosted by @elliehendricks.film. She notes the contents of the panel about tropes and widespread cultural implications of the presentation of women within the fantasy genre, referencing film and classical mythology alike - from ALIEN (1979) to The Odyssey. She also dives into the post panel screening: Ronny Yu’s wuxia film THE BRIDE WITH WHITE HAIR (1993), starring Leslie Cheung and Brigitte Lin as a clan warrior and a witch inside a demonic cult who’s romance and loyalties clash. Laura Barnes attends Bigger Than Life’s screening of erotic thriller (a categorisation Barnes refutes) EXOTICA (1994) at Cultplex @cpxmcr, Manchester. It features as part of a mini-season of Canadian independent cinema (the second part is Red Rooms with short and recorded director intro on the 20th of May.) The Atom Egoyan film concerns a grieving father and his obsession with a young stripper: “The men are sleazy, the streets are mean, and sex and love are worlds apart,” yet she notes there are no violent murders, but rather “a cerebral affair, more concerned with existential dread than frantic rooftop chases.” This cult pick offers something a little different and unique for lovers of the erotic genres. Adam Page provides a much needed reassessment of the female impact on what is arguably the most impactful film movement ever: French New Wave. With a Mount Rushmore of male faces (Godard, Truffaut, Demy, Rohmer, etc.) with the exception of Agnès Varda, the women of the movement have faded into history while their famous contributions remain. Here, Adam examines impactful examples of women’s work within the movement from directors, editors, and critics in an effort to shine a light on dimmed artistry. "Queer filmmaking has a way of evoking the deepest, most arduous feelings that bring together innovative ideas and timeless bondings which never fail to astound me. What Films Are Gay and Finch Community Cinema have done offers more than just a reflection on the beginnings of queer cinema but rather, allows attendees to find solace" writes Amal Brepotra @amalbrepotra. Amal attends Films are Gay's curated silent film night at Finch Community Cinema @finch.communitycinema and reviews the films SALOMÉ (1923) and LOT IN SODOM (1933) in a new article on our site, available to read now. She covers the location and spirit of the evening, introductions and the effect of showing and appreciating of films at risk of becoming lost to time, after being released in a time when they could not as easily be appreciated. Contributor Janine Riddell (@graeaehorror) attends Rambling Cinema’s (@ramblingcinema) screening of Iranian horror/western A GIRL WALKS HOME ALONE AT NIGHT (2014) - as part of their mission to show a film from every country around the world. Here, Janine dives into the evening and the film itself. The film features a skateboarding female vampire who stalks the night and the characters she meets along the way, in a visually stunning, eerie film that recontextualises the vampire myth for modern feminism. Contributor Ros Tibbs (@smellsliketeenros) returns to Culture to review Writer/Director Ned Caderni’s (@ncaderni) WORM (2026) and notes on the wider role of grief in modern horror. “Beyond the surface-level threat posed by many horror antagonists—the sharp knife of the serial killer, the gnashing fangs of the werewolf—horror often concerns itself with the fears, anxieties, and traumas, real or perceived, that assail ordinary human existence,” writes Becky Millar and Johnny Lee in Horror Films and Grief. “Grief is a key theme that falls under this rubric.”

Culture Film Publication

Est. 2025, England

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