Filmmaker Statement

When Christina came to me with the script for The Vagina Exorcist, I could see that, though a comedy, it examines a serious, prominent issue; fear and squeamishness around the female body. Misogyny, essentially. I felt the best approach would be for me to allow the writing to speak for itself in that area, and that my biggest challenge would be to strike the right tone to bring out the comedy. We decided to set the film in the 00s because, aesthetically, it was a time that didn't know who it was; the fashion, technology and interiors were neither here nor there. That kind of limbo felt appropriate for a film where some quite mad shit is happening, but everyone just kind of nods along. I was reminded of those offbeat daytime TV filler docs that were always on the telly in the 00s. These docs styled themselves as probing into ‘wacky and wonderful’ characters and new trends, but were often executed really underwhelmingly. We thought it’d be funny to combine this middle-of-the-road, lazy style of filmmaking, with what could otherwise be quite a serious topic: a con woman who capitalises on women’s neuroses. Alongside these countless, faceless daytime documentaries, I took inspiration from Swedish photographer Lars Tunbörk’s work in the production design; minimalist locations with cooler, bluer tones throughout; all quite weird and liminal. British comedy staples Brasseye and Big Train were also big influences on the aesthetic. Brasseye in particular, being a show which, when watching it you’d always be caught in a state between gasping and laughter, and its dated, corporate looking graphics. Likely the ‘crew’ behind Closer Look: The Vagina Exorcist were attracted to Janice because she's 'quirky' and 'vaginas, lol'. But, through dumb luck, they strike gold because she's such a narcissist that it takes barely any probing for her to reveal her true, bleak, self.