Suggested Audio Candy

 

Alizée “Moi Lolita”

 

Today Grueheads, I have a special treat for you. As you may be aware, recently I released an article by the name of The Initiation, which spoke of a project which I have great expectations for, Trauma Dolls. Every once in a while, a concept arises which strikes a particular chord with me and, when this happens, it is my job to make sure that word travels wide and far. Having recently read the screenplay, which I could visualize from first shot to last, my excitement has gone into hyper drive and it’s only set to intensify as Trauma Dolls moves closer to production.

Body horror has always fascinated me from a very young age and, when done justice, there are few sub-genres which can nestle so effortlessly beneath the pelt. However, the appeal of Trauma Dolls is far greater than simply a tale of technology gone awry and has massive social relevancy, with rich sub-text which touches on the search for acceptance in an industry which breaks far more people than it makes. I’m speaking of fashion, the multi-billion dollar behemoth responsible for enlightening us as to how we should all be looking, dressing, and carrying ourselves.

Much like the Hollywood hit machine, it churns out talent at an astonishing rate, but also casts aside anyone who isn’t considered to have made the cut. Prosperity within this field is often fleeting and can be snatched away callously once the poster girl or guy falls out of favor with the executives pulling the strings. Pressure is enormous as is the psychological damage dished out to those without the good fortune of selection. Trauma Dolls offers an expose into this often cut-throat world and it forms the backdrop for a tale which truly needs to be told. Think Black Swan, then ramp it up to thirteen, Darren Aronofsky’s chic classic was a beautifully made motion picture and had the ability to linger long after its curtain call. Trauma Dolls does all of that and a bag of pomme frites, delving deeper into the neurological make-up of its protagonist, and conjuring up some truly unnerving answers.

This film will look sleek; that much is an absolute given. However, the beast behind its beauty is every bit as relevant to proceedings and Emilie has spent a lifetime learning the true craftmanship of visceral horror from some of the most established European and cross-Atlantic film-makers of the past forty years. She knows all about contrast and how to adorn a blank canvas with lurid primary color, implementing the refinement required to make a bold and unique artistic statement. Light and shade will undoubtedly play a significant role in Trauma Dolls, both optically and psychologically. She has a beautiful handle on both and that’s what makes me salivate so.

Emilie has evidently done her homework and six months meticulous research into neurosciences attest to this. However, dig a little deeper and you will see that this is a particularly personal endeavor to her and that her main protagonist Bijou reflects her own frustration and desperation towards a cause which is all too easy to lose. This is my favorite kind of writing as it rings true, touching every nerve en route. By using an introspective viewpoint to tell her parable, Emilie encourages far greater emotional attachment from her addressee, and there will be more than simply heart and soul on exhibit. Disillusionment, despair, fear, rage; these swirling dervishes are pronounced in every last word of her delightful screenplay and it’s all the more discomforting when we can relate on such an intimate level.

What we are witnessing here is a flower unfurling before us. If nurtured correctly, this brilliant individual soul can flourish and we will all become benefactors of something truly exclusive in modern horror. I believe wholeheartedly that this wonderful creative mind is destined to revolutionize the genre and we’re ready for advancement after far too long languishing in the doldrums. What we are witnessing right now is the transmogrification of our beloved horror; it’s time for the new guard to guide us through the transition and these flag bearers must come through the independent channels as this is where the true innovation lays.

One need only look at Oklahoma Ward and Nicole Alonso and their blueprint for spearheading this assault. There are certain things that the studios just can’t fathom; certain films that only an indie can make as they’re the kind of features not feasible to the mass-market drones. This is where we can take the power back. We need to think smart, produce the kind of material to prove our unique potential, and it is here that we are excel as we know the breed well, it manifests through hard work, commitment, passion and zeal, four things which Emilie Flory possesses in abundance. Ultimately it all boils down to whether something is considered marketable and I can state with vehemence that the Trauma Dolls, and Flory herself, tick every conceivable box.

We are at a pivotal time right now; to help this tantalizing prospect happen all we need to do is believe and pay that forward in kind. Screaming from the rooftops is of uppermost importance in order for a film such as Trauma Dolls to be given the opportunity to prosper and I, for one, was all-in way before the flop was necessitated. The feeling is evidently mutual as I look around and there isn’t a poker face in sight. What’s the point of non-committal when she is clearly holding the royal flush? No bluffs necessary, Trauma Dolls is every bit as beguiling and incandescent as I am leading you to believe and, what’s more, it’s Emilie Flory through and through.

I have been unequivocally bowled over, not only by such an adroit screenplay, but also by the way in which Emilie presents herself to the world as I touched on during my Initiation piece. With this much poise and grace, married with undeniable technical ability, the prospect becomes unending. I would therefore like to express, on behalf of all the Grueheads, my intense gratitude to her for being precisely who she is without exception. She is true, real, clear, and sincere; four attributes which the Keeper of The Crimson Quill believes are vital to our enhancement. Currently Trauma Dolls is in search of a producer and further funding and I implore those with insight and integrity to show it the faith it deserves. Emilie Flory is a pioneer, a visionary, a talent to savor going forward. We’ve been crying out for true innovators for so long now and here one is, within glancing distance. Join me Grueheads in wishing her the very best; the rewards will be incalculable should she just be reminded how precious she truly is. Horror needs her; we need her. Let’s make it so.

Click here to read Trauma Dolls: The Initiation