Wildling is Fritz Böhm’s first feature film, and it’s such an assured debut, darkly mystical and elegant. Daddy inject a mysterious substance into Anna’s tummy. Eventually, circumstances arise that free Anna, and she makes her way to a nearby small town, baffled by everything she sees, this grand, scary world outside the four walls she’teenage meaning always known. Anna under her temporary custody, horrified by the girl’s tragic history.
Anna’s story grows much twistier at this point, and we spend the rest of the film watching this wide-eyed young woman navigate the precarious territory of sexual adolescence, with a darkly supernatural element complicating matters. Powley has a childlike, otherworldly quality about her beauty, and her movements are delicate and vulnerable as a newborn fawn’s. As much as this is a beautiful story about the importance of sisterhood in the journey from child to woman, it’s also a really cool monster movie that goes to some very weird and creepy places. It’s a lovely film to look at, with lush, macabre cinematography from Get Out’s Toby Oliver. Almost every shot feels like something out of Germany’s Black Forest, the birthplace of fairy tales, wild and gorgeous and dangerous.
Paul Haslinger’s score is unnerving, as is the sound design, all culminating in a film that always feels fabled, a strange, beautiful tableau in which we become lost and can never be too comfortable. Wildling is, at its center, a story about the fear fathers have of their daughters’ sexuality, and the great and ultimately misguided lengths they will go to in order to keep their little girls little forever. In a very weird way, it would make an interesting double feature with SXSW’s headliner comedy Blockers for that reason. Wildling hits theaters on April 13, 2018. About the Author Meredith Borders is a freelance writer and the Contributing Editor of the newly revived FANGORIA magazine. She and her husband own City Acre Brewing in Houston. Web design by Pro Blog Design.
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I wrote ‘Pumped Up Kicks’ when I began to read about the growing trend in teenage mental illness. I wanted to understand the psychology behind it because it was foreign to me. It was terrifying how mental illness among youth had skyrocketed in the last decade. I was scared to see where the pattern was headed if we didn’t start changing the way we were bringing up the next generation.
I wrote that song three years ago. A lot has changed since then, and a lot has stayed the same. For the past few years I’ve been an advocate for stricter gun control regulations and have been passionate about reforming our laws so this country would be safer. So my little brothers could go to school and I wouldn’t have to worry about them. So people wouldn’t have access to weapons that were capable of large-scale destruction ie: AR-15’s with 30 round magazines.
This song was written as a way to create ongoing dialogue for an issue that was being talked about, but when it came to government intervention, was largely being ignored. Now, this topic is finally at the forefront of major discussion and will hopefully lead to some big changes in policy that will prevent these acts of violence from happening in the future. That being said, I respect people’s decision to press pause. And if that becomes a catalyst for a bigger conversation that could lead to positive change moving forward, then I absolutely support it. My heart goes out to Newtown and anyone that’s ever been affected directly or indirectly by gun violence. The only way we’re going to be able to change this, is to raise a loud, booming, unified voice and not let politics get in the way of humanity.