Ratcatcher / House of Mirth

By Sophie Mayer and Lady Vervaine

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The city/screen takes on
a double meaning:

Entrance.
Refuse.

The screen a
window barred.

There is no outside
only frames within frames.

Lost in Glasgow, looking for canals and staircases. Ways out & into a city that has hosted so many film shoots that Scottish Screen have a guidebook. It gets us more lost, looking for the film, not the location.

House of Rats


Coming of age drama, following a dreamy loner who feels drowned by a society whose rules they do not understand. Confused by sex and surrounded by death, they move through a world of shadowy violence heightened by the insistence on the danger of the threshold. Lucid cinematography contributes to the sense of the city as a maze and the countryside as impossible freedom.

housecatchersophie-mayer-lady-vervaine-3.jpgHouse of Rats

HouseCatcher


Period drama of repression. The camera treats the spaces of the city as characters, and the characters exist in relation to the alternately grim and airy places that they find, and then find themselves trapped in as they try – and fail – to find their place.

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HouseCatcher

Rats of Mirth


Dazzling exposé of the politics of possession, dramatising the struggle against the social and sexual rules of class, embodied in the drive to own. The protagonist, unsympathetic and yet innocent, rebels against the constraints through a downward spiral ending in suicide.

rats-of-mirth-sophie-mayer-lady-vervaine-4.jpgRats of Mirth