
Page 2 June 17, 2021
Entertainment
‘Censor’ is Vintage Horror Fun
For the VHS Era
By Ryan Rojas, Cinemacy
Before going into the fun new horror film
Censor, you should know what a “video
nasty” is. A colloquial term coined in the
United Kingdom in the 1980s “video nasties”
were films distributed on video cassettes that
were criticized for their violent content by
the press and various religious organizations.
In her directorial debut, Prano Bailey-Bond
puts these graphic films at the center of the
story about a film censor (Niamh Algar)
who, after viewing a strangely familiar video
nasty, sets out to solve the past mystery of
her sister’s disappearance and embarks on a
quest that dissolves the line between fiction
and reality.
While operating within the familiarities
of the horror genre that fans will hope for,
Prano Bailey-Bond also flexes her deeper
knowledge and appreciation of the genre
with the plot’s central connection to video
nasties. The fun that Bailey-Bond brings to
the screen with the video nasties’ campy
kills, titles, and even videocassette jackets
are going to be some of the film’s most
memorable moments. And on a more personal
level, it’s clear that Bailey-Bond is
expressing her voice through the central
character Enid (Niamh Algar), a young and
beautiful woman who is more interested in
losing herself in her career of grisly fantasy
than following a more traditional life path.
Censor has a strong and empowering female
perspective about being a woman both in the
workplace and in danger, which Algar is as
equally game for the whole time.
For a film that is so knowledgable about
video nasties and the fun that’s had in staging
violence in film, though, Censor‘s disturbances
are aimed at the more heady paranoia of mental
instability rather than blood-spurting horror
sequences. There are only one or two jump
scares and a few moments of grisly slasher
fun, all handled rather mildly. I wonder if
Censor had allowed itself to indulge in the
genre’s more bloody mayhem what further
fun could have been had within this set-up.
Censor actually ends up hitting on the softer
side in terms of an all-out gorefest. However,
the deeper human truth that Bailey-Bond
expresses here is even more terrifying in its
relatability. It’s telling that after her sister
goes missing during childhood, Enid grows
up to become a film censor, choosing to submerge
herself in such gruesome and violent
content, striving to single-handedly extricate
the most horrific moments from the public’s
(and specifically children’s) consumption. But
when a particular video nasty becomes the
center of a national headline for an inspired
real-life murder, Enid is left shaken, and the
trauma of her horrific past haunts her again.
Bailey-Bond shows the unconscious ways
that we try to stave off events that are too
hard to make sense of in a disturbing moment
and what worlds we then create for
ourselves to cope. In asking the audience
Film Review
Censor, courtesy Magnet Releasing.
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See Film Review, page 6