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Recent Articles

Alan Clarke’s DIANE (1975) and the Guilty Austerities of Post-Imperial British Realism 
Essays and Articles

Alan Clarke’s DIANE (1975) and the Guilty Austerities of Post-Imperial British Realism 

January 28, 2026January 28, 2026
A Very Little Life: The Transient Voyeurism of Paul Schrader’s AFFLICTION (1997)
Essays and Articles

A Very Little Life: The Transient Voyeurism of Paul Schrader’s AFFLICTION (1997)

January 17, 2026January 17, 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

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Our Article Spotlight (Jan ’26)

‘What’s wrong with putting a cowboy in Hamburg?’  Considering the influence of Hollywood ‘Westerns’ on the filmography of Wim Wenders
Essays and Articles

‘What’s wrong with putting a cowboy in Hamburg?’ Considering the influence of Hollywood ‘Westerns’ on the filmography of Wim Wenders

September 30, 2025September 30, 2025
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
Frightfest Review: THE DESCENT (2005) 4K Restoration World Premiere
Reviews

Frightfest Review: THE DESCENT (2005) 4K Restoration World Premiere

September 9, 2025September 17, 2025

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

We are bringing cult films to all readers through the creation of a diverse and accessible platform. With emphasis on preservation, restoration and exhibition of cult filmmaking, we want to shed light on cinephiles, event organisers, academics, creatives and distributors. Regardless of age or experience, we want to hear about your love for film. Submissions are open – details are on our ‘Get Involved’ page!

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“Cult films last forever.”

Bruce Campbell

Paul Scrader’s AFFLICTION (1997) is an underrated gem of neo-noir drama cinema, exploring generational trauma and interpersonal violence in the community. Ceridwen Millington writes on the tale of an abused man and what we can learn through experiencing a voyeuristic tragedy. Henri-Georges Clouzot’s horror classic DIABOLIQUE (1955) is 70, and the jury is still out over its covert explorations of sapphic love and heteronormativity. It is an anxiety ridden film concerning two women, an abusive man’s wife and mistress, hiding his body after murdering him. “Through many of its layers of paranoia, the film misleads the audience, and the truth can be either shocking, or shockingly disappointing. Discussion around this French classic can be equally as tense, as 70 years later, audiences still disagree on whether the film is merely a result of historical sexual repression or a legitimate portrayal of it.” - Contributor ‘K’ who wishes to remain anonymous. Contributor Ros Tibbs (@smellsliketeenros) provides a dive into the French New Wave and New French Extremity movements of the 1960’s and 2000’s - regarding the influence of the New Wave onto its ‘edgier cousin’ of a successor in the French cinema landscape. Looking at films such as IRRÈVERSIBLE (2002) and TITANE (2021), Ros explores the manipulation of film form and meaning or intended purpose of both movements, working in dialogue as the influencer and influenced. @outforbloodfilmfest took over Leeds and Cambridge this year, curating a programme of shorts as a ‘celebration of terror, transgression, and the vibrant spectrum of queer identity’. The festival’s highlights are noted here and each short exploring sexuality and gender is explored, for you to discover some new shorts to catch on the festival circuit! “She lived ten lives or more in her life.” - Cody Jarrett Transgressive auteur Paul Verhoeven’s cult classic, ever referenced SHOWGIRLS (1995) has become a feminist, queer cornerstone of American cinema. Starring Elizabeth Berkley, Kyle Maclachlan and Gina Gershon, delivering some unforgettable one liners and passionate performances, the film nevertheless infamously bombed at the box office. However, many women and the queer community kept this incredibly fun film very close, which has renewed today into new life as critics reevaluate the film for new generations. Here, Jesse Williams (@jessee_williamsss), after watching the film’s 4K restoration at @whitewallcinema Brighton, explores the relevance of the film to the current American landscape. “Showgirls feels less like satire, and more like prophecy.” 30 years on, the film takes new shape and meaning. Mary Muñoz (@missmaimepeas) offers us a look into the iconic gothic classic, THE BRIDE OF FRANKENSTEIN (1935) regarding the enduring relevance of the film in our modern era, 90 years on. The film, like many interpretations and offshoots of Mary Shelley’s novel, is steeped in questioning around identity, morality, religion and man’s creation. The film’s exploration of prejudice and the Bride’s character in relation to her gender representation and agency is here explored in an easy to digest manner, and acts as a poignant argument for the film’s enduring legacy. @themovieguysam attended @deadduckfilm’s New French Extremity all-dayer in Nottingham this November consisting of TITANE (2021), HIGH LIFE (2018), REVENGE (2017) and MARTYRS (2008). ‘This was more than simply an assembly line of films shown consecutively. This was a labour of love (…) splendidly demonstrating the multi-faceted nature of the New French Extremity movement.’ On the 18th, 19th and 20th of November, @kind.ofcuration’s Home Cinema season at @thehorsehospital, London, creates a space for cinematic reflection in a time that reconceptialises the home ‘in a time where we are remembering that the nuclear family isn’t the way we are meant to live!’

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Est. 2025, England

 

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