Emilie Flory



The official trailer for 60 Seconds to Die
60 Seconds to Die is the new face of horror, bringing together a collective vision of modern horror to light the fuel for a nightmarish bonfire.
Check out the list of people involved with the film by CLICKING HERE




Emilie Flory & her Genre-Bending #TraumaDolls
By Shirin “Shiver” Hijab from Alisha Bunting’s @SplatsOfBlood

Emilie Flory is becoming something of an underground icon. Her upcoming project “Trauma Dolls”, about a woman named Bijou who suffers a horrible accident and becomes a fashion model with murderous intent, may propel her into the radar of horror fans in the US and abroad... 


Trauma Dolls Tribute

Trauma Dolls: The Initiation
- A review based on the screenplay
By Richard Charles Stevens / Keeper of the Quill

“…Trauma Dolls is a concept which Emilie has nurtured from its very first seed and currently she is setting the wheels in motion to ensure that it moves on into production very soon. Truth is; she had me at Trauma Dolls. The very first time I heard the title I had an inkling about this particular movie. Upon watching the promotional trailer attached to her IMDB page I began salivating and the slobber has only thickened since I can assure you…Everything about this screams quality and, having now become one of precious few afforded the opportunity of reading Emilie’s breathtaking screenplay, I can confirm that Trauma Dolls is set to come good on its pledge… Emilie’s screenplay hit me on two levels simultaneously. Firstly, no character is superfluous, everyone and thing is necessarily and integral to her plot. I may possess a particularly lurid imagination but it wasn’t required to work hard to visualize each key detail so painstakingly woven into her intricate treatment. At no point did I not have a clear mental image of every solitary scene and development as it played out on the page. Secondly, it explores the deepest, darkest recesses of the human mind and encourages that we do the exact same thing. This will undoubtedly be an experience which will nestle underneath our skin long after the final credits have rolled. However, it does so without a whiff of pretentiousness, and highlights Emilie’s command of every last one of our senses while telling her tale…” 

Emilie Flory: Pionnière de l’horreur

By Richard Charles Stevens / Keeper of the Quill 

"...Today #Grueheads, I have a special treat for you. As you may be aware, recently I released an article by the name of The Initiation, which spoke of a project which I have great expectations for, Trauma Dolls. Every once in a while, a concept arises which strikes a particular chord with me and, when this happens, it is my job to make sure that word travels wide and far. Having recently read the screenplay, which I could visualize from first shot to last, my excitement has gone into hyper drive and it’s only set to intensify as Trauma Dolls moves closer to production.
Body horror has always fascinated me from a very young age and, when done justice, there are few sub-genres which can nestle so effortlessly beneath the pelt. However, the appeal of Trauma Dolls is far greater than simply a tale of technology gone awry and has massive social relevancy, with rich sub-text which touches on the search for acceptance in an industry which breaks far more people than it makes. I’m speaking of fashion, the multi-billion dollar behemoth responsible for enlightening us as to how we should all be looking, dressing, and carrying ourselves…
…Trauma Dolls offers an expose into this often cut-throat world and it forms the backdrop for a tale which truly needs to be told. Think Black Swan, then ramp it up to thirteen, Darren Aronofsky’s chic classic was a beautifully made motion picture and had the ability to linger long after its curtain call. Trauma Dolls does all of that and a bag of pomme frites, delving deeper into the neurological make-up of its protagonist, and conjuring up some truly unnerving answers…

…One need only look at Oklahoma Ward and Nicole Alonso and their blueprint for spearheading this assault. There are certain things that the studios just can’t fathom; certain films that only an indie can make as they’re the kind of features not feasible to the mass-market drones. This is where we can take the power back. We need to think smart, produce the kind of material to prove our unique potential, and it is here that we are excel as we know the breed well, it manifests through hard work, commitment, passion and zeal, four things which Emilie Flory possesses in abundance. Ultimately it all boils down to whether something is considered marketable and I can state with vehemence that the Trauma Dolls, and Flory herself, tick every conceivable box..."

A Special Scream Out

by Richard Charles Stevens / Keeper of the Quill

"... Emilie Flory is an astonishing soul, moreover, she is an exclusive talent and one on the brink of a worldwide explosion with her forthcoming Trauma Dolls project assembling to flourish. I have been beyond impressed, not only with her stunning screenplay for this masterful film, but also with the way that Emilie carries herself on a daily basis. She spreads so much joy, hope, and love to all those around her, despite the fact that she has her own empire to tend to. My favorite pastime is to pay it forward and this is a custom that she fully endorses. In order for us to proceed and prosper, we need to be able to recognize others in the equation and wish for their triumph as much as our own. Emilie gets this. She is arriving at a pivotal time for female film-makers, with the likes of Jessica Cameron preparing to unleash Truth or Dare in 2015 and The Soska Twins already tearing shit up, Emilie’s insurgence is all the more critical. She has countless tools at her disposal but also a certain je ne sais quoi which makes her unique. France has provided some of the finest horror of the past decade and that is set to continue once Trauma Dolls bleeds into the fray..."

Click here to read the article UNITED WE SLAY

#TraumaDolls: The Evolution

by Richard Charles Stevens / Keeper of the Quill

"...Today I bring you news of something truly wonderful. It is with immense pride that I inform you that Trauma Dolls, a film written by and soon to be directed by Emilie Flory, will be the very first #Grueheads Film. I have made no secret of the fact that I believe this to be a monumental motion picture which will highlight just how vital a film-maker Emilie is and how much the industry needs to embrace her exclusive gift for storytelling. Once I commit to a project I will do everything in my power, and more besides, to make sure that it is enabled to flourish. No half-measures, no doubt or fear of failure; merely unshakable belief. A little belief, as we are all aware, can go a very long way.
The term Grueheads is one which has so much meaning for so many like-minded people. So many of us grew up idolizing horror and have nothing but adoration for this most expressive and outspoken of genres. What is also glorious is that anyone younger, experiencing horror for the first time, can find unflinching acceptance within our fast-growing family unit. We all share one thing in common and this is something inestimable. I speak of passion. Recently it has become hard to keep up with my daily tweets and I know that said passion is circulating like wildfire while I am absent. The same can be said of Emilie; she is working so hard right now to make Trauma Dolls a reality and repay all the faith that the Grueheads have bestowed upon her. This will be her gift.
It is evolving every day without question. Soon she hopes to begin work on translating her stunning words onto screen and she plans to marry her European style for visual storytelling with an American flavor which will truly set it apart from its contemporaries. I have always taken great pride in my insight and ability for spotting diamonds in the rough. Emilie sparkles brightly and that is why I mention her in the very same breath as masters such as David Cronenberg and Dario Argento. I’m basically giving the industry a heads up; paying my gut feeling forward in kind and letting everyone know that here is a screenwriter, a director, with true foresight…"


ITWS by Adam Ginsberg

ITWS with french filmmaker@EmilieFlory #TraumaDolls
& Actress Melissa Jaffer from#MadMaxFuryRoad

The May 16 episode of Out of My Head Radio is now ready for instant streaming/download. Please share and thank you for listening to the show. Click Here!

Tune in to Out of My Head Radio for an eclectic mix of interviews, music and adult entertainment that just may leave you in tears, We're talking aliens, foreign films AND what it was like to work on Mad Max Fury Road, with an actress who was there for it all. Buckle up buttercup, this shit's about to get real...

Interviews with:
Author / Speaker - Sid Prince
French Filmmaker - Emilie Flory
Actress - Melissa Jaffer from Mad Max: Fury Road

This episode features music from:
Doors in The Labyrinth, CLEPSYDRA, DEKAD,
Eversin, James Rooney,  Malka,  JOLLY

Emilie Flory on Her Upcoming Film
#Trauma Dolls
CLICK HERE to read the Interview by Wicked Horror TV


by Richard Charles Stevens / Keeper of the Quill

“…If there’s one thing that perplexes me in the very best way it is the human brain. This wonderful piece of kit is primarily responsible for every impulse, every thought wave, every feeling we express and, in the correct hands, is a thing of insurmountable majesty. My own cerebrum is a sprawling metropolis of activity and, forty-years on, I’m only now beginning to harness the power beneath the hood. So when somebody comes along with the same inexplicable gift for motoring neurons, I sit up and take notice accordingly. This is not the first time I have spoken of wonderful Parisian pioneer, Emilie Flory, and neither will it be the last. However, today I plan to elaborate further on why the future of modern horror is something she is destined to play a substantial part in. It started when she confided with me her screenplay for Trauma Dolls, a psychological leviathan just bellowing out to be green-lit. As I hung from her every word and soaked up the illumination protruding from the words before me, I also found myself visualizing every conceivable shot, almost as though I had gained access to her mind’s central reactor and was being given a free guided tour. Instantly, I knew I had found my way inside no ordinary sweat shop, and was also aware that she possessed a rather exclusive set of tools which set her apart from her contemporaries. The mind can be a wonderful thing when its owner knows how to speak it succinctly and Trauma Dolls couldn’t have been more concise in its fabrication. So what does one do when intrigue rears its inquisitive head or three? We keep on burrowing in the hope that we will unearth other suchlike concealed treasures. 

Over the next couple of months, I discovered a veritable bounty of gemstones, the likes of which would make Aladdin’s lamp seem fit only for the next flea market, and they’re all tucked away in this woman’s trove, positively screaming for the world to discern their dazzle. My case in point is this: we began to collaborate and ordinarily this is a laborious exercise as it pulls me from my comfort zone. However, my prose was decorated so exquisitely by her intoxicating visuals that it felt as though she had been watching it unfurl as I scribed it. Both What’s in The Box? and The Last Waltz sit amongst my proudest achievements since I started out almost three-years back and my words dance that much more freely from the page as a result of her optical infusions. 

Recently, Emilie went one better when, after visiting L’Étrange Festival in Paris and being bowled over by both Ben & Chris Blaine’s Nina Forever and the RKSS Collective’s Turbo Kid, she decided to write a double-headed appraisal of these fine works. As a “critic” myself, I understand how troublesome it can be compacting your zeal into a couple of thousand words and making it snap at the readers’ Achilles tendons, as opposed to leaving them anesthetized. When she sent me her draft, translated by her dear friend, Cameron Watson, and I perused said piece of literature, I was promptly upstanding and offered ovation from the opposite side of the English channel. AN EPIC DOUBLE FEATURE REVIEW is so much more than a bunch of synopsis and one-sided reckoning. Her affectionate rejoinder cut deep to the marrow of both films, revealing what could so easy be overlooked by the untrained eye.

I pride myself on the fact that my appraisals can make something appeal when previously you may not have thought to give it your precious time and that is precisely what she achieved here. Moreover, armed with her knowledge, I know full well how to approach both movies and have no doubt that I would echo her exact sentiment. This is no small feat and I have heard it remarked many times that the hardest thing a writer can do is to dissect another’s art as it’s ultimately all subjective and the true answers lie in another place entirely. However, she managed it with considerable aplomb and it proved, once again and categorically, that everything this woman touches is white gold flecked with splashes of deep red.
Trauma Dolls is an ambitious project and needs to be as it possesses far greater scope for invention than your run-of-the-mill horror movie. This is the kind of film which would be right at home at Cannes Film Festival and, moreover, her eye for visual detail gives her the very best positioning behind the lens when this ultimately comes to fruition, and I swear blind it will. Self-taught with the likes ofAlfred Hitchcock, Dario Argento, David Cronenberg, William Friedkin, and Paul Verhoeven as spotters, she plucked cherries from each and learned the art of optical storytelling from the true crème de la crème in the process. There will be no such thing as a bog-standard shot in Trauma Dolls or, at least, only when she deems such fit to hit home the humanity. Indeed, her camera will be the most voyeuristic, most probing, and most intrusive piece of equipment imaginable.

Another reason why Bijou’s tale is such a mouth-watering prospect is that she has first-hand experience of the fashion industry and knows how it feels to be on the wrong side of the single-minded glare of the lens. Drawing from experience like this affords her the opportunity of crafting her chief protagonist almost as an extension of herself and this means gripping the bloody beating heart of Bijou or, in this case, kneading her damaged frontal lobe. If you’re looking for authenticity then try this on for size. Emilie too suffered a near-fatal road accident which left her in critical condition and comatose so, make no mistake, when you look into Bijou’s eyes, it will be Emilie Flory very much staring back at you. This kind of investment reaps the best dividends, especially when it is vital to her that all five senses be engaged as I have mentioned previously.

While Trauma Dolls percolates beneath the surface like a malignant tumor, she has something else planned, and this is set to provide further evidence of her cinematic prowess. Starfucker goes into production in November and is part of the upcoming 60 Seconds To Die compendium currently building its head of steam. Among the directors also attached to this project are Oklahoma Ward, Adam Ginsberg, Jeremiah Kipp, Tony Newton, Michael J. Epstein, the great John Amplas, and yours truly. For Emilie’s segment she plans to take a stab at the Italian Giallo although, her vision will look to turn the whole genre on its head thus giving it a fresh lick of deep red emulsion for us Generation Xers. 

I promise you it will be very special indeed and, in little over a month, filming will commence. Look out for Constance Pizon in an unforgettable lead role which is sure to turn heads, seasoned professional and close friend Ludovic Berthillot, and also for her supremely gifted Director of Photography, Tariel Meliava, whose style is set to compliment her vision exotically.
I grew up idolizing visionaries and it was fascinating watching on as they realized their trajectories. Right now I truly believe that the future of the industry rests squarely on the shoulders of a few key individuals who have something truly unique to say through their art. More specifically, body horror is due for a good defibrillation. Cronenberg gave us a primarily alpha perspective and it seems fitting that Emilie Flory knows precisely what the other side of the coin looks like. Back to Trauma Dolls for a moment as it promises to be just as intoxicating on a sensual level as the Canadian at his apex.
The body beautiful happens to be something which Emilie knows rather a lot about having been ensnared within the industry’s splenetic gossamer herself and she openly celebrates both the beauty and fragility of the human body in any of its forms. This much will become apparent as this project reaches fever pitch. Then there’s the small matter of both the already written Golden Bodies: Fitness is Business and underway Psychotronic Girl O.S. to push the psychological envelope even farther. 

All of this brings me back from bells and whistles to the woman who is Emilie Isabelle Flory. A source of radiant light to so many, she is nary less than graceful in her interactions and, perhaps most critically, has in her possession a rather exclusive perspective. I never need to explain something to her twice as she feeds constantly from any dialogue where the other gives in return. This, in turn, leads to exchanges that bring the very best out of us both artistically and not a solitary word ever feels wasteful. Insight is key and hers is very much bona fide as she knows a thing or two about synapses and how to wire us for pleasure, laced with sweet agonizing pain of course. She has extensive neuroscience research under her belt, has been to the white light and turned her back on it defiantly, and is primed to paint the whole town deep red which just so happens to be a color of which I’m particularly partial.

 FEATURE REVIEW by Emilie Flory

Shocking Giallo in Development

Interviews with its creators by


THE BAZAAR CAST -The Fear Merchant Podcast
Interview by Richard M. Martin

W/ Richard Charles Stevens & Emilie FLORY

Interview with ‘Starfucker’ Director Emilie Flory

The shortest film of Triple Six Festival, clocking in at 60 seconds, is Starfucker. I interviewed director and writer Emilie Flory about the process of making the film, the role of women in horror and the future of the genre…

…... Marion Berdoati Sauzedde, announced at the festival that there were plans to make Starfucker into a feature film. Can you update us on these plans?
The producer Marion Berdoati Sauzedde who represented us, Richard Charles Stevens, producer of Starfucker and myself, is one of our supporters on Ravish, the feature film based on Starfucker

Ravish is in development in association with Vestra Pictures. The screenplay is in the process of being written. The idea of a feature film based on Starfucker is coming from Richard Charles Stevens. He is working on the script with Tony and Kerry Newton. I am their lucky director and I am currently working on the preparatory elements of the movie. It’s an aesthetically ambitious low budget project. Besides, we’re looking for producers and funds. We also launched our own fundraising campaign on ILP

One of the biggest challenge on this project will probably be to find the actress designed to embody the role of Sloan Vicious: in addition to her talents as an actress, it would take her to be able to sing and be comfortable with nudity.  Sex and music are very important in the story. Sloan Vicious is a highly provocative pop star who is going to drag us into her descent into hell. She is going to reveal us her dark part, the monstrosity she repressed but will have to face for not sinking irreversibly. 
Ravish is a project of an enticing film noir, ultra-violent, very sensual… Impulsive!