Katherine Oostman was homeschooled, studied at Oxford and worked the Sochi Olympics. She concerns herself with the dramatic, philosophical, and futuristic, so a debate about morality in space is her ideal. Call her if you’d like to engage in one. She fosters a compulsive tendency toward climbing any mountain in front of her (both literal and figurative) and creates high-concept photography in her spare time (the more glitter or metaphors, the better). She’s currently pursuing a career in creative development. Her education includes two bachelor degrees in Media Communication and Creative Writing, a Master of Fine Arts in Film Production from FSU, and a self-proclaimed masters in fort-building.
There’s something fundamentally haunting about psychological thrillers. They chill, not because they’re gruesome, but because they manifest immersive nightmares from a simple doubt and speak to morality through visceral physicality. Everyone has knocked on the actual or proverbial door of reconciliation, everyone has hurt someone they love. Mistakes are a fundamental element to human nature, but so is forgiveness – if allowed. However, in The Stranger, Blake is faced with the realization that, because of her mistakes, no one believes her. Not even her mother. This is one of my greatest fears: to hurt someone I love so deeply that not only do they distrust me, but they replace what we had with a delusion because of the damage I caused.
Festival for HORROR 