Private Project

Three Ways to Dine Well

This essay film explores horror's relationship to eating, in over seventy horror films made by women, from the 1920s - 2020s.

  • Alison Peirse
    Writer - Director
    Script Editor, Dark Beacon (2017) - multi-award winning British horror feature film
  • Project Type:
    Documentary, Short
  • Runtime:
    21 minutes 15 seconds
  • Completion Date:
    July 14, 2021
  • Country of Origin:
    United Kingdom
  • Language:
  • Shooting Format:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Nightmares Film Festival
    Columbus, OH
    United States
    October 28, 2021
    Official Selection
  • Ax Wound Film Festival
    Brattleboro, VT
    United States
    December 12, 2021
    Official Selection
  • SLASH TV, Schauspielhaus Wien
    October 31, 2021
    Official Selection
  • Final Girls Berlin Film Festival
    February 6, 2022
    Official Selection
  • Haunted House Fear Fest

    United Kingdom
    March 1, 2022
    Official Selection
  • Renegade Film Festival
    United States
  • GALACTICAT: IXth Fantastic and Terror Film Festival
    August 7, 2022
    Official Selection
Director Biography

Alison Peirse is a multi-award winner horror writer and an associate professor of film. She has published four books on horror film, her latest, Women Make Horror: Filmmaking, Feminism, Genre, was nominated for the Bram Stoker Award for Best Nonfiction Book and as Book of the Year at the Rondo Award. This is her first film as a writer-director.

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Director Statement

I had three aims for this film. First, I wanted the audience to discover that women worked in major roles on such horror classics as The Shining, The Evil Dead and Rosemary’s Baby. Second, I wanted to illuminate little known horror films helmed by women, such as Nettie Peña's Home Sweet Home, Tracey Moffatt's Bedevil and Jackie Kong's Blood Diner. Third, I wanted to showcase the work of the women filmmakers who are now - finally - being written about in horror scholarship: Daria Nicolodi, Mary Lambert, Karen Arthur, Stephanie Rothman (and many more). To achieve this, I've created an essay film composed of film extracts from narrative and experimental shorts and features, and grant-supported, no/lo budget and commercial film. And the remit is global: this film contains women-made horror cinema from South Korea, Australia, USA, UK, Poland, France, New Zealand, Japan, Canada, Sweden, Taiwan, Laos, India, Italy, Iran, Finland and Czechoslovakia. Sit back, enjoy, and prepare to stack up a TON of new viewing recs.