Slaughtered Vomit Dolls

The narrative centers on explicit dates from 1994, anchoring the trauma in a concrete era. It juxtaposes archival-like childhood footage with present-day sequences, blending memory with manufactured reality. This temporal framing emphasizes the intergenerational echo of abuse and the persistence of trauma across years.

The film unfolds across intimate private spaces captured as home video and juxtaposed with broadcast-style scenes. It moves through a bathroom and other domestic settings, then shifts to a church-adjacent environment that grounds the story in a community space. These locations become sites where coercion, memory, and ritualized violence are enacted and confronted. The constant tension between private trauma and public exposure is anchored in these spaces.

🕸️ Trauma

The film centers on the persistence of trauma, repeatedly returning to memories of abuse and coercion. It presents a fractured, echoing memoryscape where past harm bleeds into the present, challenging the audience's perception of realism. The montage of coercive performances and self-portraits suggests memory as a weapon that shapes identity. The repetitive, looping structure underlines how trauma can haunt across generations.

🎭 Exploitation

Exploitation sits at the heart of the film's formal approach, merging documentary-like reality with sensationalized violence. Angela’s experiences are depicted as a commodified performance, where the line between consent and coercion becomes a currency. The camera’s gaze and the manipulative narrative frame critique voyeurism and the ethics of viewing pain. The work investigates who profits from suffering and how media narratives weaponize vulnerability.

🪞 Identity

Identity in the film is fluid and fractured, with Angela adopting multiple personas—child, stripper, and actress in different moments of the montage. The text probes how memory, stigma, and external labels sculpt who she is, while also revealing how these roles are performed under pressure. The result is a troubling meditation on selfhood and its spectral afterimages, where past selves linger in present actions.