If you’re like me and can’t be normal about anything, it’s fair to assume that when you find a new obsession, you’ll crave other media with similar vibes. So, if you like this artist, watch this film.
Fiona Apple — Gone Girl (2014)
Protagonist Amy Dunne’s icily calm yet vehemently angry delivery of the film’s iconic “Cool Girl” monologue is something that resonates with many women—not because we’re wannabe murderers, but because it embodies repressed female rage. Our lives are dictated by expectations of docility and submission, suppressing our anger for peace. Thus, finding mediums that let women be angry is invigorating.
No one does rage better than Fiona Apple. While her music expresses various emotions, songs like “Get Gone”, “Regret”, “Limp”, and “Under the Table” perfectly encapsulate the all-too-common experience of being an angry woman. Apple’s music has the same sense of calm, focused rage that’s found in Dunne, making Gone Girl perfect for Fiona Apple enthusiasts.
Phoebe Bridgers — The Iron Claw (2023)
I think The Iron Claw is one of the greatest films ever made. However, I can never watch it again. It’s so sad you can’t even cry—you just have to sit and stare at a wall after it ends. That’s how I feel listening to Phoebe Bridgers. She knows just what to say to cause devastation. The Iron Claw, which follows the Von Erich family of professional wrestlers, “cursed” by tragedy, might be the single-most devastating film I’ve seen.
Reminiscent of the film’s focus on brotherhood, Bridgers wrote “Would You Rather” about her brother and how well siblings know and understand each other. Similarly, the Von Erich boys’ bond was the most beautiful (and most heart-breaking) aspect of the film. Additionally, Bridgers’ “Funeral” and “Cool About It”, from her supergroup boygenius, share many of the film’s themes.
Noah Kahan — Twisters (2024)
I wasn’t expecting Twisters to be sad—even after watching, I was shocked at the emotions it evoked. Seriously, it’s about chasing tornadoes. That’s an average Midwestern Tuesday. However, the exciting, action-packed plot concealed the trauma that lays beneath the surface. The backstory of the protagonist Kate Carter devastated me.
You’d expect a country artist recommendation for this film, but honestly, Noah Kahan’s music better encapsulates it. His commonly upbeat sound disguises his agonising lyrics, like the film’s silly premise hides Kate’s trauma. RIP Kate (she’s not dead), you would’ve loved Kahan’s “The View Between Villages”.
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