director | Amber Mealing

Traditionally Virgo has long been associated with a virginal maid; a passive character whose silence is celebrated as a wise elusiveness. I got bored of this idea. I wanted to focus on the dark side of the Virgo mind, even revel in it. Taking the tarot symbol for the Virgo, the hermit, and Loredana’s film muse Tony Montana (Scarface, 1983), I made this badass Taxi-Driver-esque recluse, held up in her dingy apartment, meticulously planning her bloody revenge. However, ever the Virgo, the way to exact her revenge is through going inwards, exploring the dark corners of her mind. As her dream and memories flood in, chaotically going back and forth through them, the lines of physical and metaphysical blur. I wanted to emphasize the strength of the Virgo mind, so when she awakens it is as if her dream manifested into reality, her being covered in blood in the final bedroom scene is a symbol for this.

Film Facts:

  • The clock turns 8 o’clock as the number 8 is associated with infinity, a nod to the infinite mind of the Virgo. The infinity symbol is also a sign of Lilith, the mythological first wife to Adam who throughout history has been blamed for the plight of man as she is such a tempting vixen. The original Nasty Woman, love Lilith… go read more about Lilith.
  • Yes, that name Miss Virgo crosses out, the person she has supposedly killed, is Jack Torrence from The Shining (1980). Yes, a reference to Kubrick was absolutely necessary. And yes, Donald Trump is on Miss Virgo’s hit list as well… We can all dream.
  • Quentin Tarantino is somewhat of a directorial muse to me, the song chosen for Miss Virgo -Lay Down by The Paint - references the chord progression devised by Bernard Herrmann for the 1969 British Horror Twisted Nerve, which is the whistled tune made famous by Daryl Hannah’s viper lips in Tarantino’s Kill Bill.


Miss Virgo was heavily influenced by films such as Scarface and other movies form that era. We decided on a 2:35.1 aspect ratio to frame the movie in a wide screen cinematic format to really indulge in the "movie" feel.
We used fluorescent lighting to paint a metropolitan hyper reality that played into our cinematic aesthetic and added drama to the piece. 
Using hand held and available light in the exterior shots, we were able to embrace the darkness and grittiness of her world, the colours of the fluorescent city lights tying it back to our interior lights.