Thinestra

A young woman takes a new weight-loss pill and the fat she sheds returns in the form of her blood-thirsty doppelgänger.

This body horror is so much more than just blood and guts. It carves deep into the heart of body dysmorphia, targeting those doubts we all harbour about self-worth, how we’re perceived and judged by our peers and the world around us. It’s a reminder to all that we’re more than our physical being, and challenges us to take a cold hard look at how we harshly we treat ourselves at times.

Our lead is Penny (Michelle Macedo), a woman stuck between a world where expectations to be perfect are inescapable and her own harrowing internalised shame builds her to a point of self-inflicted hatred of her appearance. After discovering a new diet pill, she begins to find a new confidence and acceptance, but this soon turns to horror as her self-saboteur comes to life in an unimaginable way, unleashing a fresh new wave of hell on anyone in its path.

The visuals in this film are striking. Set in Los Angeles at Christmas, it’s laced with temptation from the many excesses the festive season provide, to the sickly recurring imagery of glazed doughnuts. We have the added pressure of not only being in a city where beauty and perfection are equal to the dollar, but of family, the need to be merry and bright during a time of celebration. Tonally we shift between the sun kissed setting and harrowing nightscapes, effortlessly balancing the duality of Penny’s journey.

The comparable to Coralie Fargeat’s The Substance are unavoidable, however where the former reflects on the unattainable ideals of youth and celebrity, Thinestra is a stark and harrowing portrayal of the unrelenting struggle of ordinary people. As with most independent features, the road from initial conception to release has been a long one and the timing of Thinestra’s festival circuit run only strengthens these comparisons.

One area where both films excel is the visual representation of our fe...