FANGORIA X MONSTER FEST 2019: The well-trodden road to overnight bigscreen success began for Airlie Dodds in 2010 with the short film, Purple Flowers. Nearly two decades later, after 10 more short films, a healthy live theatre resume and a stint on the iconic TV series Neighbours, her lead performance as the blood-splattered heroine Kayla in Tony D’Aquino’s The Furies is generating career-defining buzz. Only her third feature film role, the tough 20-day shoot in the wilds outside of Canberra required a physical commitment she was not entirely ready for. The acclaim coming her way, that, she’s ready for…
“I do a lot of short films and TV, so I turn up, do a little bit and go home,” said Dodds, addressing the Monster Fest crowd in Melbourne at a Q&A appearance hosted by SCREEN-SPACE’s Simon Foster. “So, by the second week of the shoot, I was like ‘Tony, I’m so tired!’ And he said, ‘Yeah, me too.’ But we were fine. It was exhilarating, even euphoric running through this bush location.”
Dodds came to the audition process with a strong sense of her character, a young woman thrust into a brutal bushland game of survival when pitted against five merciless monsters. “It was pretty much all on the page, nothing really changed,” she says, recalling that moment when she had to stand before her somewhat offbeat writer/director and weigh up her career choice. “When I did the audition, it was the big scene at the end just after a key character had died. I looked down, towards Tony, and he was watching the monitor wearing purple socks and an avocado T-shirt and I’m thinking, ‘Well, this is my life’ (laughs).”
Making his feature film directorial debut, Tony D’Aquino presents as a pure gentleman, softly spoken and unassuming. Yet he has delivered a horror opus that harkens back to the most gruesome examples of the slasher genre; no surprise his favourite film is The Texas Chainsaw Massacre. For Dodds, that dichotomy of character helped her build trust with her director. “He’s very gentle and quite meek,” she recalls fondly. “You might think that in a performative sense he would be pushing for intensity, but his gentleness can ground you at times, which felt very nurturing.” (Pictured, left; D'Aquino, left, with DOP Garry Richards)
The complex psychology of Kayla was key to the actress going after the role. She had played lauded support parts in Damian Power’s acclaimed thriller Killing Ground and Heath Davis’ comedy/drama Book Week, and was ready to graduate to a multi-dimensional lead role. “The main thing about Kayla within this type of genre film is that it helps her emerge, really weaves out her inner strength,” says Dodds, who responded to the convincing character arc in D’Aquino’s script. “When you meet her, you’re not inclined to think her very strong, and she doesn’t really know herself until the circumstances force her to. It was less about the idea of the character and more about her immediate actions that ultimately define her.”
High on the actress’ list of positives was that Kayla has to interact with several female characters to survive. Actresses Linda Ngo, Taylor Ferguson, Ebony Vagulans, Danielle Horvat, Jessica Baker, Harriet Davies and Kaitlyn Boyé are granted as much complexity, if not screen time, as Dodds’ Kayla. For the actress, it was central to the story’s appeal. “There are so many stories about men being cunning and violent and manipulative and crazy, so one of the great things about this film is that it shows those complex elements being explored with women characters,” she opines. “The characters [who survive], do so because of their light, feminine value; they use compassion to get ahead. It is still a tactic, a survival tactic, but it is genuine. They all represent aspects of femininity, the resourcefulness or the vindictiveness, and I like that they are as complex as any male character.” (Pictured, above; from left, Linda Ngo, Dodds and Ebony Vagulans)
THE FURIES director Tony D’Aquino will be present for a Q&A following the Fangoria x Monster Fest session on October 31 at Event Cinemas George Street, Sydney. Check the official website for further information.
FANGORIA x MONSTER FEST 2019: As Chairperson of the New South Wales chapter of Women in Film & Television (WIFT), Megan Riakos is one of the most determined advocates for gender equality in Australian cinema. She has fought that fight in the male-dominated ivory towers of the government, corporate and film sector for some time now, but she knows the most effective way to counter long-held prejudice is to get the work of women filmmakers to the fore. To that end, with producing partner Leonie Marsh, she has curated the anthology work Dark Whispers Vol. 1, a collection of vivid and complex horror shorts directed by women from the last decade of Australian film.
Ahead of the film's NSW premiere at Fangoria x Monster Fest 2019, Riakos very kindly compiled the thoughts of her team of extraordinarily talented filmmakers for SCREEN-SPACE, posing to them (and herself) the question, "What inspired your contribution to the Dark Whispers project..."
(Pictured above, from left to right; top - Megan Riakos, Briony Kidd, Jub Clerc, Lucy Gouldthorpe; middle - Leonie Marsh, Isabel Peppard, Kaitlin Tinker, Madeleine Purdy; bottom - Angie Black, Janine Hewitt, Katrina Irawati Graham, Marion Pilowsky.)
MEGAN RIAKOS (Co-producer; Dir: THE BOOK OF DARK WHISPERS, the wrap-around narrative that binds the anthology; stars Andrea Demetriades) “Dark Whispers was curated from a callout for completed films and we received impressive submissions from almost every state and territory in a myriad of sub-genres. There are great hidden depths of talent out there and I feel very privileged to be the caretaker of these films and to have the opportunity to work with these amazing filmmakers for the project.”
BRIONY KIDD (Dir: WATCH ME; stars Tosh Greenslade, Astrid Wells Cooper, Jazz Yap) “Watch Me was written by Claire d'Este, from a concept she says was inspired by ‘The Nothing’ in The Neverending Story. Claire and I are friends and I think she knew it was an idea that would appeal to me. I love how it's quite simple but there's a lot to think about. The protagonist is quite unlikeable on the surface, and yet she is somewhat sympathetic because of what we see her going through. I enjoy characters who are not easy to pigeonhole.” (Pictured, right; Astrid Wells Cooper in Watch Me)
JUB CLERC (Dir: STORYTIME; stars Jhi Clarke, Sylvia Clarke, Jimmy Edgar) “I was inspired to tell the story of a mythological being from my cultural heritage to pay homage to all the campfire stories my family would share on hunting trips. I shot Storytime in 2005, so to have life breathed back into it in this format with all these wonderful female directors is such a treat. Having the opportunity to terrify a whole new audience is so rewarding.”
LUCY GOULDTHORPE (Dir: GRILLZ; stars Tosh Greenslade, Melanie Irons) "Grillz was partly inspired by a raft of dreadful online dating experiences. I felt so vulnerable going on dates with people who weren't what they seemed from their online personas. So we flipped that and our main character Milla preys on the vulnerability of her online hook ups. I also wanted to make something short, sweet and black and white in my hometown of Hobart. Something fun and cheeky with a strong woman vampire who was dealing with stuff that ordinary women have to deal with - weeding through online matches and making a trip to the dentist." (Pictured, right; Melanie Irons in Grillz)
LEONIE MARSH (Prod: DARK WHISPERS VOL. 1) “Being a part of the producing team of Dark Whispers has been a great joy; to work with so many wonderful women; to create new opportunity for these stories and these filmmakers' careers, and to highlight the wealth of talent we have here in Australia to the rest of the world.”
ISABEL PEPPARD (Dir: GLOOMY VALENTINE) "My film was inspired by the song ‘Gloomy Sunday’, also known as the Suicide Song. It was written by a Hungarian composer in the 1930s and interpreted by Billy Holiday who's version was banned by the BBC till 2002 after a spate of deaths were associated with it. I went through a period of infatuation with this song and the combination of music and lyrics inspired a series of poetic visuals. These ended up being the inspiration for Gloomy Valentine."
KAITLIN TINKER (Dir: THE MAN WHO CAUGHT A MERMAID; stars Roy Barker, Bilby Conway, Verity Higgins) "[I wanted to examine] the male gaze, the projection of anima and the hidden, darker side of Australian suburbia. What lies beyond those garage doors? What secret, inner worlds are we operating in? I lost the opportunity to make a feature film because a male executive decided he could re-write my feminist, prize-winning horror pitch better than I. It was crushing. I'd relish the opportunity to develop a feature with a supportive production house, and to write/direct for live theatre.” (Pictured, right; Bilby Conway in The Man Who Caught a Mermaid)
MADELEINE PURDY (Dir: LITTLE SHAREHOUSE OF HORRORS; stars Georgia Wilde, Colan Leach, Travis Jeffery) “Fear is always relevant, but the things we fear in horror films, not so much. I wanted to speak the same language as this genre I love so much, but using the (often banal) fears that spike my adrenalin on any given day as the subject. I freak out about the natural world quite a lot. The main character in Little Sharehouse of Horrors, Maeve, is similar to myself. We exist in a little world where people talk agricultural conspiracies, and freak ourselves out about the consequences of putting in our body what we do. In short, my own anxieties inspired the short.”
ANGIE BLACK (Dir: BIRTHDAY GIRL; stars Sarah Bollenberg, Michaela Teschendorff-Harden) “The writer, Michael Harden and I had been working on a horror feature script that was drawing on aspects of Japanese horror. We wanted to investigate the fragile psychological state after loss and both of us being parents thought that the loss of the child is about as dark as you could go. Birthday Girl is about a mother who isn’t ready to let go and is tormented at the thought of not remembering.”
JANINE HEWITT (Dir: THE INTRUDER; stars Asher Keddie, Bree Desborough) “The idea for The Intruder came from a ghost story that was emailed to me by a colleague. It posed the question - what would you do if your friend turned up wanting to talk to you but you received a phone call during your conversation letting you know that same friend had died? The email gave me goose bumps and I knew it could be developed into a great short horror film.” (Pictured, right; Asher Keddie in The Intruder)
KATRINA IRAWATA GRAHAM (Dir: WHITE SONG; stars Derty Eka Putria, Alana Golingi, Luke Wright) “The Kuntil Anak ghost is Indonesia's most famous ghost. She is the ghost of a woman who has died in childbirth, often from a pregnancy that has resulted from male violence. She haunts pregnant women, children and men. As a child growing up in Jakarta, I was terrified of her! Later, as a young mother and abuse survivor myself, I switched from identifying as the possible victim to identifying with the ghost. I understood her desire for revenge, but also saw that there could still be the redemptive power of love even in the cold heart of a ghost. So I wrote White Song - an Indonesian ghost story told from the ghost's perspective.”
MARION PILOWSKY (Dir: THE RIDE; stars Anthony LaPaglia, Ed Speelers, Emer Kenny) “Unbeknownst to me, my father had written a short story called 'The Lift’ under a pseudonym in 1961. Some 50 years later, he gave it to me to read and I loved it. I felt very connected to the material and I asked him how I could talk to the writer. That’s when all was revealed! I updated the setting, found a fantastic producer and pushed the button, thinking I would be paying for it myself. Then, the BBC came on board three days before we shot, which was amazing. During the pre-production madness, Anthony LaPaglia (who I knew from Adelaide) read the script and said that if I hadn’t cast the role of the 'Driver' he wanted it. The Ride was my first adaptation and first short film as a director so I was very fortunate for such great support.”
DARK WHISPERS VOL 1 will screen on Sunday November 3 at 6.15pm at Event Cinemas George Street, Sydney as part of Fangoria x Monster Fest 2019. Following the screening, the directors will be present for a QA session hosted by SBS Movies Managing Editor, Fiona Williams. Full ticket and session details can be found at the venue's official website.
When a window of opportunity presented itself, Mike Green needed to act fast. With one feature script on the backburner and fatherhood looming, the writer/director had to craft a bare-bones production that played to his strengths as a storyteller. The result is Outback, a grueling survival thriller starring Taylor Wiese and Lauren Lofberg as American tourists who do everything wrong when stranded in our unforgiving backyard. And Green made it work within the window – Outback was outlined in two months, scripted in four weeks and filmed over ten days. “We had a great bunch of people so it was fun, though,” the director told SCREEN-SPACE, on the eve of his film’s World Premiere at Fangoria x Monster Fest 2019 | Melbourne….
SCREEN-SPACE: The vast and beautiful 'villain' of the film, the Australian outback, is such a unique landscape to film. What was the visual aesthetic you and your cinematographer Tim Nagle needed to capture to convey just how merciless our country can be?
MIKE GREEN: We started off handheld, doco-like to give the audience a false sense of security. As we got deeper into the Outback and the drama and stakes rise we tried not to embellish the camera work because the Aussie landscape already has a built in pre-awareness for good reason. It is vast, hot and hostile. (Pictured, below; Outback stars Taylor Wiese, left, and Lauren Lofberg)
SCREEN-SPACE: Audiences understand the menace of the outback, from Wake in Fright and Picnic at Hanging Rock, to Mad Max and The Proposition, and many others. Was there a cinematic template you used in crafting the look and mood of the film?
MIKE GREEN: My original idea was Open Water in the outback. Touching the Void was another film I looked at closely. For the use of sound, music, it’s a two-handed, the psychological breakdown of the characters. The look was going to be dictated by the landscape. We knew the red soil would play a huge part in the film. Also the blue skies. We were very selective with the use of colour in the film. Wardrobe, props, hero vehicle, locations; we worked to a restricted colour palette. Production designer/costumer Courtney Covey, DP Tim Nagle and I had in-depth conversations and planning around this. Justin Tran our colourist did an amazing job bringing together our footage. He’s got back-to-back features lined up now.
SCREEN-SPACE: What was the key human element, the emotional arc of the story that your leads Taylor and Lauren had to remain focused upon?
MIKE GREEN: Thematically the story is about not taking tomorrow for granted. It’s how I try to live my life and it hits close to home for me. At it’s heart, Outback is a tragic love story. Originally when I cast Lauren I had her do some self-tapes. She had a relationship she was working through at the time. With her blessing, I built some of the narrative from her personal situation, which proved an effective way in and a strong anchor upon which to build the story. (Pictured, above; Green, far right, with Wiese and crew on location)
SCREEN-SPACE: Even with the MIFF success of your short Mother and time spent watching Cate Blanchett and Robert Redford as DA on Truth, was the first day of your feature film directing debut a surreal experience? Or did you know the time was right?
MIKE GREEN: I was producing, 1st AD, locations manager, directing, writing; I wore many department hats and had a three month old baby at home. I was [both] tired and focused. There wasn’t time to think beyond the task at hand.
SCREEN-SPACE: How much research was done on the physical horrors of dehydration and exposure to high-temperatures? Is there license taken, or is this as close as your audience should ever come to this kind of physical hardship?
MIKE GREEN: We did a lot of research into dehydration and the breaking down of humans in tough situations. People find themselves in sticky situations very easily and surprisingly quickly. How often do you hear people go missing or getting stuck in the Blue Mountains? And that’s in our backyard. Once dehydration takes place, your decision-making skills leave you very quickly. Silly decisions seem to make sense at the time. After people watch Outback, a lot of them tell me their close calls and horror stories getting lost or stranded in sketchy places. Lucy Woolfman our HMU & SFX Designer went to extraordinary lengths to research the effects of dehydration and the physical and textural subtitles to our bodies. (Pictured, above; Lauren Lofberg, on location)
The World Premiere of Mike Green’s OUTBACK will screen on Saturday October 12 at Cinema Nova as part of 2019 Fangoria x Monster Fest | Melbourne, then on Saturday November 2 at Event Cinemas George Street as part of 2019 Fangoria x Monster Fest | Sydney. Ticket and session details can be found at the official website.
David Marmor’s directorial debut, 1BR, will play well with Australia’s capital city audiences, for whom rental-house hunting is its own nightmarish reality. For Marmor's protagonist Sarah, the gated apartment community she’s found in sunny LA seems too good to be true; in true spine-tingling psychological-horror style, so it proves to be. Working from his lean, taut script and with a fearless leading lady in Nicole Brydon Bloom, Marmor (pictured, below) has crafted an intensely gripping examination of modern urban living. Ahead of the Australian Premiere of 1BR at Fangoria x Monster Fest 2019, Marmor spoke with SCREEN-SPACE about the film that RogerEbert.com praised as “unique horror.”
SCREEN-SPACE: Your understated directing style serves the simmering tension and unfolding puzzle of the film superbly. Films such as Polanski's The Tenant and Rosemary's Baby came to mind for me, as well as Brian Yuzna's Society. Who are the filmmakers and what are the films that inform your directing?
DAVID MARMOR: You hit the nail on the head with Polanski. I'm not sure it'd be possible to make a movie like this without being influenced by his apartment trilogy. I also found inspiration in Darren Aronofsky's Black Swan, which I think is a masterful example of subjective storytelling, planting us firmly in Nina's troubled mind from start to finish. Michael Haneke and Stanley Kubrick always influence me, and for 1BR I drew especially from Caché and A Clockwork Orange. Other influences are harder to pin down, as I think I've subconsciously absorbed lessons from so many filmmakers I grew up on. Odd as it may seem, there's probably a little Spielberg in there, too. (Pictured, right; Nicole Brydon Bloom, as Sarah, in 1BR)
SCREEN-SPACE: There's a strong thematic subtext that explores the sacrifice we have to make to conform; one of my favourite lines is, "The sooner you give up, the sooner you'll be free." Is your film a call-to-arms, to cling to your individuality and personal voice? Did you come at the story with a socio-political agenda?
DAVID MARMOR: I really don't have any political agenda. I know there's at least one reviewer out there who was convinced the movie is an Alex Jones-style paranoid fantasy, and someone else once came up to me and said conspiratorially that he understood my real meaning - that it was all an indictment of socialism. I'm actually happy that different audiences are finding different meanings in the movie, but my intent in creating the community was in fact to give it very positive underlying values--and then twist them into something terrible. That was the most frightening idea to me, and it's also the way these things often seem to evolve in real life. I don't think anybody starts out intending to create a repressive religion or a violent death cult (at least I hope not!), but when your goal is to save all of humanity, there are no limits to the means you can justify to yourself. If there's any deeper meaning underlying the story, for me it's more metaphorical than political. I think many people struggle with the tension between being true to ourselves and what we owe our family, our friends, and our society. Those obligations, as important as they are, can make us feel trapped in our lives. On some level, I think of this story as a kind of extreme exploration of that internal tension. (Pictured, above; Marmor, right, directing Bloom during principal photography)
SCREEN-SPACE: The dark psychology that goes into breaking Sarah's spirit is agonisingly specific. Is the methodology you employ based upon research or just plucked from the dark recesses of your own mind?
DAVID MARMOR: Sadly, the world has much darker recesses than my mind, and I found I didn't need to make much up. The methods in the movie are almost entirely based in reality. Many of the physical methods come directly from techniques the U.S. government has used in the Iraq War and other recent conflicts, as well as practices employed by the British government during the Troubles. I also drew heavily from my research into cults, many of which seem to share a common set of psychological tools for isolating people and keeping them dependent.
David Marmor's 1BR will screen as part of Fangoria x Monster Fest 2019 (Melbourne - Oct 13/16; other states Oct 31-Nov 3). Full session and venue details available at the official website.
Matthew Victor Pastor has been at Melbourne’s Cinema Nova complex since mid-morning, exhibiting levels of nervous energy entirely reasonable for a young director on the day he launches his latest feature. That said, with eleven hours until the World Premiere of MAGANDA! Pinoy Boy vs Milk Man, isn’t Matthew Victor Pastor likely to fade well before the post-screening Q&A, scheduled for midnight?
As it turns out, ‘energy levels’ aren’t a problem for the Victorian College of the Arts (VCA) graduate. Pastor is out of his seat and fronting the sold-out Monster Fest session as soon as the end credits roll. Despite the early hour (closer to 12.30am, as it transpires), almost the entire audience has stayed. Having experienced MAGANDA! Pinoy Boy vs Milk Man, hearing what its creator has to say about its journey to the screen suddenly holds a deep fascination.
“I see myself as a boy from the 3174 Noble Park, who is very lucky to be making movies, happens to be of Asian heritage, of mixed nationalities, who grew up in this great country,” says Pastor, who co-wrote (with Kiefer Findlow), directed and stars in what might best be described as a social satire/B-movie homage/personal drama hybrid born of Melbourne’s underground movie scene and pulsing with in-your-face observations on race, gender, sex, family and the nature of filmmaking. “Making films is a really hard thing to do and when they come from a place that is a bit crazy and feature characters that are marginalised and the kind that you are not supposed to make films about…well, that makes it all very exciting.”
Self-effacing, polite and unwaveringly upbeat in person Pastor transforms into the tortured, insecure, struggling director ‘Angelo’ onscreen. Between desperate encounters with his ex-girlfriend Jupiter (regular collaborator Celine Yuen; pictured, above), sexual failings with a patient prostitute (Kristen Condon) and anguished sessions with his family (played by the director’s real-life mother and sister), Pastor’s protagonist contemplates with increasing frustration his Filipino/Australian heritage and the social perception of his culture.
“It can be very hard to both create and live with that kind of character and then to ask an audience to sit with him for two hours,” admits Pastor, refreshingly frank in his assessment of his lead character. “When Angelo says, ‘I wonder what it would be like to wake up in a white man’s skin, with a white man’s cock,’ he reveals a character that is so self-deprecating and hates himself so much. The challenge was to bring some empathy for a character that can outwardly be so unlikable.” (Pictured, left; Anthony Lawang as 'Pinoy Boy')
Pastor pitches his performance in the upper range, but assures his audience that the character’s anxiety and increasingly unhinged persona comes from research and experience. “I spend a lot of times in online forums, reading a lot of people’s comments about identity politics. ‘Angelo’ is the combination of different ideals in that sphere,” he says. “He’s actually a lot more common than you think; a lot of what he says and who he is comes directly from discussions on Asian identity in those discussions.”
It is the third of Pastor’s films to explore the Asian experience in Australia, specifically from the Filipino point-of-view. Dubbed the ‘Aus-Filo Trilogy’, it began with his VCA Masters project, I am JUPITER I am the BIGGEST PLANET (2016), followed by the music video-influenced docu-drama Melodrama! Random! Melbourne!, which premiered at the Adelaide Film Festival in October. Says Pastor, “I am making films from a different perspective, in the context of the diaspora of Asian cinema, and that’s the space that I am happy and proud to occupy.”
If MAGANDA! Pinoy Boy vs Milk Man is sounding a lot more serious than its title might suggest, the laughs come in the form of Pastor’s film-within-a-film. Recalling the scratched-negative aesthetics of VHS-era Filipino actioners, the subplot stars Koki Kaneko as a racist dairy farmer/serial killer, clad entirely in a white bodystocking, targeting Asian women on his murderous spree; on his trail is Pinoy Boy (Anthony Lawang, aka Lamaroc), a Filipino super-cop, and two local scumbag detectives, Shannon (the great Glenn Maynard) and Noll (fellow Melbourne underground auteur Stuart Simpson).
There are moments in Pastor’s film where the improv comedy stylings (“We improvised a lot,” he laughs) and lo-fi stunt work inspires eye-rolls and giggles, but the director assured his audience that the themes and issues that he set out to address were always paramount. “It is about two worlds coming together,” says Pastor. “I don’t necessarily offer any resolution, but instead create an entry point for those worlds for the audience. There are multiple layers to achieve that - it could be the A-film, the more arthouse aspects, or the B-film genre stuff, but they both represent the same story told via different cinematic language. Is that not what coming from ‘two worlds’ means? This film is about what its like to fall between the cracks of those two worlds.”
MAGANDA! Pinoy Boy vs Milk Man will screen throughout Australia in 2019. It is currently seeking representation in overseas markets.
Wednesday, October 30, 2019 at 3:20PM 
Dodds came to the audition process with a strong sense of her character, a young woman thrust into a brutal bushland game of survival when pitted against five merciless monsters. “It was pretty much all on the page, nothing really changed,” she says, recalling that moment when she had to stand before her somewhat offbeat writer/director and weigh up her career choice. “When I did the audition, it was the big scene at the end just after a key character had died. I looked down, towards Tony, and he was watching the monitor wearing purple socks and an avocado T-shirt and I’m thinking, ‘Well, this is my life’ (laughs).”
Making his feature film directorial debut, Tony D’Aquino presents as a pure gentleman, softly spoken and unassuming. Yet he has delivered a horror opus that harkens back to the most gruesome examples of the slasher genre; no surprise his favourite film is The Texas Chainsaw Massacre. For Dodds, that dichotomy of character helped her build trust with her director. “He’s very gentle and quite meek,” she recalls fondly. “You might think that in a performative sense he would be pushing for intensity, but his gentleness can ground you at times, which felt very nurturing.” (Pictured, left; D'Aquino, left, with DOP Garry Richards)
High on the actress’ list of positives was that Kayla has to interact with several female characters to survive. Actresses Linda Ngo, Taylor Ferguson, Ebony Vagulans, Danielle Horvat, Jessica Baker, Harriet Davies and Kaitlyn Boyé are granted as much complexity, if not screen time, as Dodds’ Kayla. For the actress, it was central to the story’s appeal. “There are so many stories about men being cunning and violent and manipulative and crazy, so one of the great things about this film is that it shows those complex elements being explored with women characters,” she opines. “The characters [who survive], do so because of their light, feminine value; they use compassion to get ahead. It is still a tactic, a survival tactic, but it is genuine. They all represent aspects of femininity, the resourcefulness or the vindictiveness, and I like that they are as complex as any male character.” (Pictured, above; from left, Linda Ngo, Dodds and Ebony Vagulans)
