![]() The longer she stares, the more she begins seeing things, glimpses of a woman trapped inside the wallpaper. With nothing else to do, Jane spends her days staring at the hideous yellow wallpaper that decorates her homegrown prison cell. Actively deprived of stimulation by her domineering husband, she is forbidden to read, write, or exert herself in any way. ![]() Now, as a treatment for postpartum depression (once believed to be a byproduct of “female hysteria”), Jane is taken to a remote country manor to “rest.” In other words, she’s confined to a small bedroom with bars on the windows and furniture nailed to the floor. ![]() She has, however, fulfilled her sole purpose in life, at least according to the patriarchal attitudes of the time: she’s given birth to a child. Played by Alexandra Loreth (who also co-wrote the script with director K Pontuti), Jane is a woman in America during the 1800s, which means she’s basically a second-class citizen. ![]() That’s more than Jane, the protagonist of The Yellow Wallpaper, has. Henry Rollins thought he had it rough when, on Black Flag’s 1984 album Slip It In, he sang about “drinking black coffee, black coffee, drinking black coffee, staring at the wall.” But, hey, at least he got coffee. ![]()
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