Synopsis

Exploring violence, loss, sexual repression, and identity formation in the subjectivity of a young women, ‘In Between’ utilizes a highly stylized method of storytelling to complicate dichotomies of art-film/genre-film, fantasy/reality, internal/external and self/other.

Director’s Statement

What are the limits of representation?  The title “In Between” refers to the spaces in between meaning, the space of slippage between socially dominating modes of being.  Exploring notions of violence, love, sexual repression and identity formation in the subjectivity of a young woman, In Between employs a highly stylized method of storytelling in order to complicate traditional modes of classification:  fantasy/reality, internal/external, life/death, self/other.  It attempts to highlight the inherent violence in the ongoing process of constructing the self, the cutting away necessary to fit within representation, especially with regard to female subjectivity.  The structure of the film exists in between an experimental art film and a contemporary genre film, focusing on the tension between them and thereby complicating both categories.  The horror film, often dismissed and accused of lacking cultural value, is a form that focuses specifically upon the limits of representation.  The central dialectic of psychological trauma is described by renowned psychiatrist Judith Herman, M.D. as “the conflict between the will to deny horrible events and the will to proclaim them aloud”.  It is within this struggle of representation that the horror film operates, utilizing allegory and metaphor in an attempt to speak the unspeakable.