<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Peter Strickland - vo.rs</title><link>https://vo.rs/tags/peter-strickland/</link><description>Latest from the Peter Strickland desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Tue, 25 Feb 2025 08:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/peter-strickland/" rel="self" type="application/rss+xml"/><item><title>Berberian Sound Studio: Horror About the Making of Horror</title><link>https://vo.rs/screen/berberian-sound-studio-horror-about-the-making-of-horror/</link><description>&lt;p&gt;Here is a horror film that never once shows you a horror. You hear all of them. Peter Strickland&amp;rsquo;s &lt;em&gt;Berberian Sound Studio&lt;/em&gt; (2012) takes place inside a cramped Italian post-production facility in the 1970s, where a timid English sound engineer has been hired to do the audio for a lurid giallo — and Strickland&amp;rsquo;s camera stays glued to the mixing desk, the reels, the racks of equipment, and the faces of the people making the noises. The film on the screens is called &lt;em&gt;The Equestrian Vortex&lt;/em&gt;, and we never see a frame of it beyond its own delirious animated title sequence. We only ever hear it, and hear the ordinary, faintly comic labour of faking it.&lt;/p&gt;</description><pubDate>Tue, 25 Feb 2025 08:00:00 +0000</pubDate></item></channel></rss>