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We Are Still Here

We Are Still Here

2015

NR

Director

Ted Geoghegan

Runtime

83 minutes

Average Rating

No ratings yet

Synopsis

After the death of their college age son, Anne and Paul Sacchetti relocate to the snowswept New England hamlet of Aylesbury, a sleepy village where all is most certainly not as it seems. When strange sounds and eerie feelings convince Anne that her son's spirit is still with them, they invite an eccentric, New Age couple to help them get to the bottom of the mystery.

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Diversity & Representation

Overall Score

1.8/10

Minimal


Category Breakdown

LGBTQ+ Representation

Minimal

The film operates within a strictly heteronormative framework. There is no discernible presence of non-cisnormative identities or critiques of heteronormativity.

Gender Representation

Limited

Anne demonstrates emotional agency and resilience regarding her son's spirit. However, character roles largely adhere to 1970s archetypes and conventional domestic expectations.

Racial & Ethnic Diversity

Minimal

The cast is largely homogeneous, reflecting the 1972 New England setting. There is a lack of diverse ethnic representation within the primary character arcs.

Religious & Cultural Diversity

Limited

The story focuses on the isolated, supernatural struggle of a nuclear family. It avoids deconstructing traditional Western institutions or engaging with systemic critiques.

Disability Representation

Minimal

There are no prominent depictions of neurodivergence, physical disabilities, or chronic illnesses used as central narrative drivers.

Strengths

  • The female protagonist, Anne, displays significant emotional agency and resilience.

Areas for Improvement

  • The film lacks racial and ethnic diversity, maintaining a homogeneous cast.
  • There is no representation of LGBTQ+ identities or non-cisnormative characters.
  • The narrative does not include depictions of disability or neurodivergence.
  • Gender roles remain within established 1970s archetypes without subversion.

AI Analysis

We Are Still Here is a traditional supernatural horror film that prioritizes atmospheric tension and period authenticity. The narrative architecture focuses on dread rather than the disruption of social hierarchies. The film adheres to conventional social structures, featuring a homogeneous cast and traditional gender roles. It maintains a localized, personal horror experience centered on a nuclear family unit. Ultimately, the work lacks intentional intersectional representation, opting instead for a period-specific, Anglo-centric social landscape.

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