I Blame Society review – a sarky stab at Hollywood sexism

What do murderers and filmmakers have in common? That’s the question that writer-director Gillian Wallace Horvat endeavours to answer in her feature debut I Blame Society, a sharp and timely social satire that blends mumblecore mockumentary with girlbossified snuff film.

Horvat, playing a fictionalised version of herself, is a struggling filmmaker whose latest project about the political unrest of Israel fails to receive funding. Bogged down by gatekeeping filmbros and industry sexism, and ignited by a “compliment” given to her by her friends (that she would make a great murderer, naturally), she embarks on a low-budget quest to revive an old project. Horvat’s film-within-a-film, I, Murderer, sees her interview family and friends about her capabilities as a serial killer whilst hypothesising how she might go about bumping off various victims.

Not unlike last year’s Spree, I Blame Society takes a stab at the state of modern day entertainment, where the lines of fiction and reality are blurred beyond recognition. In an age where outlandish “prank” videos, often featuring some of society’s most vulnerable subjects, rack up millions of views across social media (as do their subsequent apology videos), it seems fitting that millennial filmmaker Horvat would tap into the sketchy politics of content creation, accountability and entertainment. Her line, “I know this seems really unethical right now, but I know it’s the right thing to do” feels like a soundbite ripped straight from some hideously audacious YouTube video.

At its heart, however, I Blame Society is a bold critique of the struggles women face when trying to find a seat at the table. Gillian’s filmmaker boyfriend complains about having to work with “overthinking” female directors, but assures her that he’s an “ally.” As her body count piles up, authorities are quick to credit Gillian’s “intelligence” and “attention to detail” to the work of a white male. “I’m so good at murdering! It just sucks that I can’t get the credit for it,” she complains in a hauntingly relatable moment that sees her attempting to prove to two male producers what a “strong female lead” really means.

Horvat perfects the droll, awkward tone of the millennial that’s so fitting for the mockumentary format, and while the supporting characters who float in and out make the micro-budget painfully obvious, the film uses this to its advantage. I Blame Society is certainly on the nose, but it also shows potential as a future cult hit of the feminist horror canon.

I Blame Society is now available on various digital platforms.