
Dear You
HOW LUXURIOUS TO BE ALONE in a theater for a double-bill screening of two love-rhymes-with-hideous-car-wreck films at Spectacle Theater. French director and actor Emmanuelle Bercot’s Backstage (2005) and German director and writer Eckhart Schmidt’s Der Fan (1982) suggest that fandom, like a diamond, is forever. In each, the center of gravity is a younger girl pining for an older pop star, seeing her idol as the physical embodiment of the love that she longs forat least as a one-way ticket out of banality.
Horror makes a major of the minor, an opera out of suggestion, and treats fantasy as