
            The movie opens with a man visiting a woman in a caravan. She invites him in but moments later leaves. The man is not moving. As he slumps in his seat, it is revealed that half of his head is missing and bloody. The action cuts to a court where the judge tells the convicted that they must spends the rest of their lives in a mental asylum until they are cured of their disease. Years later they are released and the woman begins to read tarot cards to earn money. Things go well at first but then she begins to become sadistic with her customers. A young girl called Debra goes to a bar with her boyfriend and his biker mates. She tries to get an alcoholic drink from the barman. He doesn't believe that she is over 18 and tells her to piss off. She goes back to her boyfriend and tells him that the barman called her a tart. The boyfriend goes back to the barman and threatens him for calling her a tart. The barman says he has said no such thing and a fight nearly breaks out. The boyfriend and Debra are told to leave. Towards the end of the night, the bar closes and the barman goes to walk home. The boyfriend confronts him and then both the boyfriend, Debra and their friends beat up the barman. An old man leaves the bar and catches the brawl, threatening to phone the police. The gang scarper and ride their motorcycles back home. Debra is dropped off at her sister Jackie's house. Jackie confronts Debra asking where she has been. Debra tells her to piss off and mind her own business. While Debra has a bath/shower, Jackie takes a parcel to a dark foreboding looking house where her Mum and Dad now reside (Dorothy and Edmund, the two people who were locked up in the mental asylum at the beginning of the film) and gives her mum a package dripping with blood. Jackie leaves and has a terrifying dream of her mum sitting next to her on a train. Her Mum is in a horrifying state. Her eyes sockets are blood red and her face is white. She approaches Jackie with the package that is dripping blood and forces it into her face. Her mouth drips with blood too. Jackie awakes, sweating. She later meets her boyfriend Graham at the cinema. Halfway through the film she asks to leave and runs up an escalator. As he leaves, she runs back down the escalator and gets into her car. In the next day she meets up with her Dad who tells her that he believe her mum is not well again. They both confront her mum and mum thinks that they are ganging up on her. The Dad becomes a coward and says it was all Jackie's idea, putting Jackie in danger with her Mum. Jackie leaves and Mum shows Dad the dead bodies in the barn that has been hiding under the straw. Dad doesnt know what to do and Mum Jackie gets back home and Graham manages to get the whole story about her parents out in the open. He does some investigating and finds out they were released on good merit that they were cured. Graham understands that this is clearly not the case and decides to visit Dorothy and Edmund which is a fatal mistake. Debra meets her boyfriend at a garage. She says she has something to show him. She opens the boot of her car to reveal the dead barman lying inside. His right eye is missing and leaves a bloody eye socket. The boyfriend is horrified by this and backs away from Debra, feeling sick. Debra sees that he is not as strong as he made out at the bar. The boyfriend of Debra comes to the house to drop Debra off. Debra reignites her kinship with her mother and they both murder her boyfriend by stabbing him with a pitchfork several times. Graham turns up at the house and demands a reading with Dorothy making an excuse that he is very sick and wants to know what his future will be. He tells her his name is Robin and that he believe he doesnt have long to live. Turns out its not a good one as Debra reveals his true identity and Dorothy finds out his agenda for being there. Debra believes that Jackie is not one of them and plots with her mother to have her killed. Debra rings up Jackie who is round a friends' house and tells her to come to the house. Foolishly Jackie does what Debra says and is confronted by her Dad telling her she should have stayed away as he cant protect her now. She sees that he has a bloody scar on his cheek and Edmund tells her that Dorothy hit him with the fire poker. Demanding to know where Graham is, she runs upstairs to the attic. When she opens the door to the attic, she finds to her horror, Graham is lying dead on a table with most of his face missing. It looks like Dorothy and Debra have been eating him. Debra sees Jackie and advances towards her menacingly with a meat cleaver in her hand. Her evil mother accompanies her as they get closer to Jackie who is now helplessly screaming with fear and backed up against the corner of the room. As Edmund realizes what is about to happen, the screen freezes and the horror on his face tells the viewer that Jackie IS about to die a horrible painful death and theres nothing he can do to stop it.
    

Frightmare


            Wild Flowers, filmed in a small working-class town on the west coast of Scotland, is British director Robert Smith's tribute to the strength of women, culled from childhood memories of families at whose head is the matriarch. The camerawork is slow and sensual, covering a clean and crisp seaside village. The accompanying musical score (original compositions in the Scottish tradition) floats without effort around and through the narrative. These elements, combined with a sharp screenplay and characters that are sometimes very charming, belie the fact that Wild Flowers gently and lovingly twists themes to their breaking point. Sadie, a young woman from Glasgow, is visiting her boyfriend's hometown. She agrees to stay and meet his family, and unwittingly uncovers his mothers' secret--an undiminished attraction to women. Sadie is drawn by the mother's wit and energy, and her interest in Angus (the boyfriend) diminishes by increments equal to her fascination with Angus's mother. Add to the story a bitter and unflinching grandmother (the true matriarch), a dependent husband and sons, a few local eccentrics, and a couple of harmless busybodies, and you have a typically good British film, poised for the kill. Set in flashback, and often in Sadie's psychological space, there is the theme of tradition that is as binding as it is nurturing. What is the proper setting for passion? At what point in any life does passion concede to contentedness? And where within tradition is there a place for those who are, as the film puts it, "born dissatisfied"? - San Francisco International Lesbian & Gay Film Festival
    

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