The Final Girls Berlin Film Festival Announces Program for Halloween 2021 Edition

After hosting part one of their 2021 festival virtually this past February, Final Girls Berlin Film Festival is thrilled to convene in the flesh once more in Berlin for a second part of our 6th edition to run from October 29th-31st, 2021. Final Girls Berlin Film Festival, Berlin’s premier showcase of horror films made by women* and non-binary filmmakers, will return to City Kino Wedding for their full program of feature films, short blocks, talks by international horror specialists, and a retro screening. In addition to the live line-up, FGBFF will also offer most of their short film programs online for worldwide on-demand access during the festival. 

“It’s invigorating to experience the community as we emerge from isolation, and to have such a wealth of harrowing and thrilling films to present,” says Festival Co-Director Sara Neidorf on looking forward to celebrating in-person once again over the upcoming Halloween weekend.  “Given the sheer amount of excellent horror being made by women* and non-binary folks,” added Co-Director Eli Lewy, “it’s an exhilarating time to be organizing the festival, and we couldn’t be more excited to share an October program packed with horror gems.”

Saint Maud



Dir. by Natalie Erika James, Australia, 2020

When elderly matriarch Edna (Robyn Nevin) inexplicably vanishes, her daughter Kay (Emily Mortimer) and granddaughter Sam (Bella Heathcote) rush to their family’s decaying country home, finding clues of her increasing dementia scattered around the house in her absence. After Edna returns just as mysteriously as she disappeared, Kay’s concern that her mother seems unwilling or unable to say where she’s been clashes with Sam’s unabashed enthusiasm to have her grandma back. As Edna’s behavior turns increasingly volatile, both begin to sense that an insidious presence in the house might be taking control of her.

SAINT MAUD — Berlin Premiere

Dir. Rose Glass, UK, 2020

A bold and strikingly original psychological chiller, SAINT MAUD follows a young live-in nurse whose lonely life and religious fervour lead her towards an increasingly dangerous quest that is anything but holy. Heralding the arrival of a bold new voice in British cinema, first time feature director Rose Glass, and a breakout lead performance from Morfydd Clark, SAINT MAUD is a deeply unnerving must-see for film-lovers and adventurous horror fans alike.


Dir. Written and directed by Amy Seimetz, USA, 2020

After waking up convinced that she is going to die tomorrow, Amy’s (Kate Lyn Sheil) carefully held together life begins to unravel. As her delusions of certain death become contagious to those around her, Amy and her friends’ lives spiral out of control in a tantalizing descent into madness.


Dirs. Madeleine Sims-Fewer & Dusty Mancinelli, Canada, 2020

VIOLATION casts a harrowing and unflinching gaze on the topics of psychological and physical assault in a manner which is unforgiving without straying into the exploitative or facile, as portrayals of its subject matter so often run the risk of being. It’s a decidedly feminist yet brutal take, revealing the true horrors of being gaslit by those you love and trust, and the insidious manner with which a woman’s reliability is so often thrown into doubt. Not for the faint of heart, this dissection of trauma comments on the futility of redemption narratives.


Dir. Kier-La Janisse, USA, 2021

WOODLANDS DARK AND DAYS BEWITCHED explores the folk horror phenomenon from its beginnings in a trilogy of films – Michael Reeves’ WITCHFINDER GENERAL (1968), Piers Haggard’s BLOOD ON SATAN’S CLAW (1971), and Robin Hardy’s THE WICKER MAN (1973) – through its proliferation on British television in the 1970s and its culturally specific manifestations in American, Asian, Australian, and European horror, to the genre’s revival over the last decade. Touching on over 200 films and featuring over 50 interviewees, WOODLANDS DARK AND DAYS BEWITCHED investigates the many ways that we alternately celebrate, conceal, and manipulate our own histories in an attempt to find spiritual resonance in our surroundings.


Dir. Stephanie Rothman, USA, 1971

A married couple accepts the invitation of mysterious vixen Diane LeFanu to visit her in her secluded desert estate. Tensions arise when the couple, unaware at first that Diane is, in reality, a centuries-old vampire, realize that they are both objects of the pale temptress’ seductions.



Dark Water

Dark Water  — Dir. Erin Coates & Anna Nazzari, Australia, 2020

La mejor mamá del mundo — Dir. Catalina Sandoval, Chile, 2020

Honour Thy Mother — Dir. Yinghui Fu, USA, 2020

Suddenly, The Night — Dirs. Cristina Bodelon & Ignacio de Vicente, Spain, 2018

Sui Generis — Dir. Jenny Anastasoff, USA, 2015

Kakatshat — Dir. Eve Ringuette, Canada, 2020      


F for Freaks

The Three Men You Meet At Night — Dir. Beck Kitsis, USA, 2020

Don’t Let It In — Dir. Jessica Henric, USA, 2020

Home Sweet Home — Dir. Agata Puszcz, Poland, 2019

It’s Nothing — Dir. Anna Maguire, Canada, UK, 2019

Boo — Dir. Rakefet Abergel, USA, 2019

Hexatic Phase — Dir. Ariel McCleese, USA, 2020

F for Freaks — Dir. Sabine Ehrl, Germany, 2020


They Salivate

Haute Cuisine — Dir. Merryl Roche, France, 2020

100,000 Acres of Pine — Dir. Jennifer Alice Wright, Denmark, 2020

So What if the Goats Die — Dir. Sofia Alaoui, Morocco/France, 2019 

They Salivate — Dir. Ariane Boukerche, Canada, 2020


Coming Out

Meta — Dir. Sydne Horton, USA, 2020

Coming Out — Dir. Cressa Beer, USA, 2020

Going Steady — Dir. Brydie O’Connor, USA, 2020

Night Waking — Dir. Shoshana Rosenbaum, USA, 2020

Penance — Dir. Kayden Phoenix, USA, 2020

Swipe Up, Vivian! — Dir. Hannah Welever, USA, 2020

Love You Forever — Dir. Sepand Mashiahof, Sepehr Mashiahof & Hana Harada, USA, 2020

Atavico — Dirs. Ayi Turzi & Elan Aguilar, Chile, 2019

Freza — Dir. Yulia Travnikova, Russia, 2020 

Nightcap — Dir. Nicole de Meneses, USA, 2020


Dead Fish

Diabla — Dir. Ashley George, USA, 2020

The Wick — Dir. Michelle Coverley, UK, 2020

La bruja del fósforo paseante (The Wandering Witch) — Dir. Sofia Carrillo, Mexico, 2018

My Witch Roommate — Dir. Cleo Spiro, Germany, 2020

Dead Fish — Dir. Silva Kuusniemi, Finland, 2020


Possibly in Michigan

My Brother, Jeffrey — Dir. Liz Schack, USA, 2020

The Lovers — Dir. Avra Fox-Lerner, USA, 2020

Pizzaman — Dirs. Rosalie Kicks & Katie McBrown, USA, 2020

Keep Closed at All Times — Dir. Herman Kerner, produced by Kate Darion, USA, 2020

All of You — Dir. Shahrzad Davani, USA, 2020

#brunch — Dir. Natalie A. Evans, UK, 2020

Strange Bird — Dir. Laura Lee Bahr, USA, 2020

Fury — Written and directed by Paulette Lecaros, Chile 2020

Plant Collector — Dir. Kathryn MacCorgarry Gray, UK, 2020

The Girl in the Woods — Dir. Laura Kulik, USA, 2020

Possibly in Michigan — Dir. Cecelia Condit, USA, 1983

Unfinished Business — Dir. Mary Dauterman, USA, 2020



Lecture by Valeria Villegas Lindvall (University of Gothenburg)

The 2000s and 2010s pumped new blood into Latin American female* feature-length genre filmmaking, passing the torch onto the 2020s with the fire of stellar and innovative renditions that explore intimacy, sexuality, violence, and oppression from a previously occluded perspective. This talk will take a plunge into films throughout the continent, from Mexico (TIGERS ARE NOT AFRAID, 2017), passing through Panama (DIABLO ROJO PTY, 2019) and all the way to the Southern Cone (SHE WOLF, 2013 and GOOD MANNERS,2018) and beyond in order to highlight the political and cultural configurations of these reimaginations of monsters that arouse fear and desire, dreaming of a liberation that roars: we are alive, and we are furious.


Lecture by Patricia Pisters (University of Amsterdam)

In her lecture, Patricia Pisters will talk about her latest book on female horror directors, focusing on new takes on vampires, werewolves, and other contrived souls, especially in relation to tortured coming-of-age stories that address social pressure and traumas. Commencing with a return to Stephanie Rothman’s psychedelic exploitation film THE VELVET VAMPIRE (1971), and additional early female-authored vampire stories, as well as more contemporary works like Mary Harron’s THE MOTH DIARIES (2011), Katharina Wyss’ SARAH, PLAYS A WEREWOLF (2017), and Octavia Butler’s last novel Fledgling from 2005. Pisters argues that a female-authored poetics of horror opens up to a wide spectrum of emotions with its fangs in important socio-political issues.

For more information about the festival, please visit:

Twitter: @finalgirlsfest

Instagram: @finalgirlsfilmfest


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